FILM ANALYSIS
Shutter Island (Scorsese, 2010)
- Use of music to anchor the on-screen image
- Neo-noir style is interesting and makes the opening more authentic
- We could use both of these in our film opening
What Lies Beneath (Zemicks, 2000)
- Use of slow cutting rate creates and heightens tension
- Selective sound such as breathing sustains the tension
- We could use slow cutting rate in our film opening, however fast cutting rates also build tension
I Am Legend (Lawrence, 2007)
- Creating realistic characters from a realistic cause or purpose, for example infected people instead of zombies to add to the verisimilitude
- We think we will use infected people to make the opening more realistic than using zombies. Also the audience are more likely to feel sympathetic towards infected people rather than zombies (which aren't real)
Dawn of the Dead (Snyder, 2004)
- Fast cutting rate & rhythmic sound heighten tension
- The abscence of sound (silence) connotes fear and hints that something is wrong
- Sound is an important factor to consider for our opening sequence, effective techniques such as silence or music or non-diagetic sound effects will create and build tension
Zombieland (Fleischer, 2009)
- Slow motion shots are effective
- The use of an unconventional hero or heroine is controversial
- The use of voiceover is effective because it sets the scene and introduces the audience to the protagonist, antagonist and characters
- We should consider all three of these points to use in our opening, especially the use of slow motion shots. We could use the program 'Twixtor' to emphasise slow motion and make our opening look semi-professional by raising the production values
28 Days Later (Boyle, 2002)
- Negative representation of zombies as antagonists
- High production values make the opening look professional and cinematic
- We think we will try to make our opening look less like a 'media project' and more like an actual film opening by making it look cinematic
Misfits (Crowe, 2010)
- Industrial look due to buildings, sharp edged architecture and grey, bleak colours
- Desaturated filter which compliments the urban area
- We are going to apply a filter or colour correction to our opening to make it look more authentic, and we are thinking about using an industrial, urban location
The Dark Knight (Nolan, 2008)
- Clowns (antagonists) given prevalence
- Neo-noire style similar to Shutter Island (Scorsese, 2010)
- We will consider who is given prevalence and whether it will be the protagonists, antagonists or both
TECHNICAL ANALYSIS
Inception (Nolan, 2010)
- Fast cutting rate creates tension and makes the opening look much more cinematic
- There is movement in almost every shot which also makes the opening look more cinematic but has also showed me that static shots may look amateur and boring
What Lies Beneath (Zemicks, 2000)
- Extremely slow cutting rate (first shot is 1:44) and there are only 4 shots in 2 minutes
- The long duration of shot heightens the tension and entices the audience and is different to most films which have shots of roughly 6 seconds long
28 Days Later (Boyle, 2002)
- The positioning of the camera affects the mood of shot and the audience's perception of the characters
- Low or high angle connotes power or hierarchy
Tuesday, 31 January 2012
Monday, 30 January 2012
Feedback 2
Well done - your research so far is of L4 standard, demonstrating excellent application of key concepts. To secure a L4, you need to ensure all posts are illustrated with embedded clips where possible or still shots.
I now want to see how your concept is developing and how this research is "inspiring you" - what have you learnt from it that will influence your work? Make explicit links between films analysed and how your idea is developing
Keep up the good work!
I now want to see how your concept is developing and how this research is "inspiring you" - what have you learnt from it that will influence your work? Make explicit links between films analysed and how your idea is developing
Keep up the good work!
MC: Film Analysis 3: The Dark Night (Nolan, 2008)
Dark Knight (Nolan, 2008) - Opening sequence
REPRESENTATION & IDEOLOGY
In this opening sequence, American citizens and criminals are represented. A variety of readings are obtained solely from the bank scene. Some are hysterical and fearful; however the bank attourney is portrayed as a heroic character and fearless in the face of danger, approaching the criminals with a shotgun and a 'gung-ho', vigilante attitude.
Ideologies in this extract are American stereotypes, and we understand the reaction of citizens in the face of danger.
MEDIA AUDIENCES
REPRESENTATION & IDEOLOGY
In this opening sequence, American citizens and criminals are represented. A variety of readings are obtained solely from the bank scene. Some are hysterical and fearful; however the bank attourney is portrayed as a heroic character and fearless in the face of danger, approaching the criminals with a shotgun and a 'gung-ho', vigilante attitude.
Ideologies in this extract are American stereotypes, and we understand the reaction of citizens in the face of danger.
MEDIA AUDIENCES
The target audience for this film is the typical cinema
goer, of ages 12-29 as the certificate is 12A. Those that are a fan of action,
crime and drama. The film was released as a blockbuster, distributed by Warner
Bros. Pictures, but analysed by independent film fans and greatly appreciated for
its neo-noir characteristics.
Possible audience readings of the text may be on the favourable side of crime, as the clowns committing the robbery are given prevalence and pull off moves stylistically and hold up the bank with ease. Other audience readings may be a negative stereotyping for American culture, of violence and criminality.
As a British teenager, I understand this text as a modern remake of the Marvel comic cartoon classic of Batman. Through the mise-en-scene of the masked characters, I gain interest in the production values of this film. Being at the age where Batman films have been released throughout my life, I am able to enjoy this film as a sequel. I also gain an insight into American extravagant buildings being a UK citizen.
JC: Film (T.V. Drama) analysis 3 - Misfits (Crowe, 2010)
Misfits - Series 2 Episode 1 (Crowe, 2010)
Although this opening is from a T.V. series, it possesses several qualities which film openings also have such as:
- Character exposition
- Representation of social groups
- Builds foundation for storyline
Analysing this clip is useful as this series is very cinematic and inspiring. Also, we want to create an opening with more sentimental value than most zombie/post-apocalyptic thrillers, so by analysing a British drama, we can take inspiration and use the techniques we learn similarly.
FILM LANGUAGE
- The mise-en-scene in this clip is used to create enigma and inform the audience that the characters are in mourning.
- The enigma is created by montage editing of an anonymous character getting ready to go out, however, the fact that he is wearing all black clothing and body armour has connotations to super-hero fantasy.
- The enigmatic code is further reinforced by the short shots of pictures of the characters on his wall, and makes the audience ask the question: 'Who is this masked person?'
-Parallel editing is then used to show how the other characters are mourning and the anonymous character is performing acrobatic manouvres on rooftops.
- By using ECUs of the anonymous character getting ready, a mysterious effect is created, as the audience are only able to see small parts of the character and the set. Fast rhythm of cutting is also used to create suspense during the opening scene and the camera movement is rarely static also building up the storyline and anticipation.
- The music in this clip is whispering, electronic music, which reinforces the enigmatic code and the urban setting of the series. Then, progressive, mid-paced music accompanies the free-running scene, which greatly promotes the sense of danger and risk which the anonymous character is putting himself in.
- Intercutting fast-paced, action-packed scenes with slow, sentimental ones, creates a strong contrast in the two sides of the parallel editing, and also suggests that the anonymous character is heading towards the unaware characters (which he eventually does).
- A low-contrast filter is applied to the sequence (and the entire series) which compliments the bleak, grey colours of urban, industrial areas.
INSTITUTIONAL CONTEXT
- Low-key professional actors were used in this opening however they are effective in the meaning of the sequence as they reinforce stereotypes realistically.
- Clerkenwell Films produced this episode and series. They are a British film and T.V. producing company who have produced films for the BBC, ITV and Channel 4.
- The series was aimed at British teenagers as it represented stereotypes of adolescents and gave them prevalence and narrative dominance. Its main theme is also superpowers, which is presented in an interesting and original way.
- This opening is clear evidence that the production values of this episode were fairly high, as a range of special effects are used and a professional soundtrack is featured.
Although this opening is from a T.V. series, it possesses several qualities which film openings also have such as:
- Character exposition
- Representation of social groups
- Builds foundation for storyline
Analysing this clip is useful as this series is very cinematic and inspiring. Also, we want to create an opening with more sentimental value than most zombie/post-apocalyptic thrillers, so by analysing a British drama, we can take inspiration and use the techniques we learn similarly.
FILM LANGUAGE
- The mise-en-scene in this clip is used to create enigma and inform the audience that the characters are in mourning.
- The enigma is created by montage editing of an anonymous character getting ready to go out, however, the fact that he is wearing all black clothing and body armour has connotations to super-hero fantasy.
- The enigmatic code is further reinforced by the short shots of pictures of the characters on his wall, and makes the audience ask the question: 'Who is this masked person?'
-Parallel editing is then used to show how the other characters are mourning and the anonymous character is performing acrobatic manouvres on rooftops.
- By using ECUs of the anonymous character getting ready, a mysterious effect is created, as the audience are only able to see small parts of the character and the set. Fast rhythm of cutting is also used to create suspense during the opening scene and the camera movement is rarely static also building up the storyline and anticipation.
- The music in this clip is whispering, electronic music, which reinforces the enigmatic code and the urban setting of the series. Then, progressive, mid-paced music accompanies the free-running scene, which greatly promotes the sense of danger and risk which the anonymous character is putting himself in.
- Intercutting fast-paced, action-packed scenes with slow, sentimental ones, creates a strong contrast in the two sides of the parallel editing, and also suggests that the anonymous character is heading towards the unaware characters (which he eventually does).
- A low-contrast filter is applied to the sequence (and the entire series) which compliments the bleak, grey colours of urban, industrial areas.
INSTITUTIONAL CONTEXT
- Low-key professional actors were used in this opening however they are effective in the meaning of the sequence as they reinforce stereotypes realistically.
- Clerkenwell Films produced this episode and series. They are a British film and T.V. producing company who have produced films for the BBC, ITV and Channel 4.
- The series was aimed at British teenagers as it represented stereotypes of adolescents and gave them prevalence and narrative dominance. Its main theme is also superpowers, which is presented in an interesting and original way.
- This opening is clear evidence that the production values of this episode were fairly high, as a range of special effects are used and a professional soundtrack is featured.
JP: Technical Analysis - Inception (Nolan, 2010)
Inception (Nolan, 2010)
Link disabled due to copyright reasons.
JP: Film Analysis 3 - 28 Days Later (Boyle, 2002)
28 Days Later (Boyle, 2002)
Link disabled due to copyright reasons.
MEDIA AUDIENCES
The target audience for this film is the zombie horror audience, between 18 and 29 years old, as the film certificate is an 18.
The dominant reading of the text is that zombies or infected people are represented negatively as if they are antagonistic, hunting out the protagonists. A negotiated reading would be that the zombies could be progressively or regressively represented, and an aberrant reading would be that the zombies are the protagonists.
As a British teenager I read the text to roughly the same extent as a normal audience member would. My age and gender would affect the reading as more younger men tend to enjoy zombie horror or thriller films than women or older men.
INSTITUTIONAL CONTENT
The three main stars in this film are Cillian Murphy, Naomie Harris and Christopher Eccleston. It is important to have stars in a film because if they are famous, good actors that people like, it will attract a wider, larger audience to view the film, increasing box office revenue.
DNA Films & British Film Council produced the film and 20th Century Fox distributed it. It is an industrial film.
One of the strategies used to market the film was placing TV spots mostly in masculine programming such as football games and TV premieres of films like 'The Matrix' and 'A Clockwork Orange'. These spots featured audience reaction footage taken by night vision cameras of an invited preview audience to entice audiences in. This clearly proved well due to the $82,719,885 box office total.
The institutional context is evident in the opening sequence because of the high quality camera work, mise-en-scene and the use of sound adds to the high production values - the diagetic dialogue is crisp and non-diagetic music sounds professional.
Link disabled due to copyright reasons.
MEDIA AUDIENCES
The target audience for this film is the zombie horror audience, between 18 and 29 years old, as the film certificate is an 18.
The dominant reading of the text is that zombies or infected people are represented negatively as if they are antagonistic, hunting out the protagonists. A negotiated reading would be that the zombies could be progressively or regressively represented, and an aberrant reading would be that the zombies are the protagonists.
As a British teenager I read the text to roughly the same extent as a normal audience member would. My age and gender would affect the reading as more younger men tend to enjoy zombie horror or thriller films than women or older men.
The three main stars in this film are Cillian Murphy, Naomie Harris and Christopher Eccleston. It is important to have stars in a film because if they are famous, good actors that people like, it will attract a wider, larger audience to view the film, increasing box office revenue.
DNA Films & British Film Council produced the film and 20th Century Fox distributed it. It is an industrial film.
One of the strategies used to market the film was placing TV spots mostly in masculine programming such as football games and TV premieres of films like 'The Matrix' and 'A Clockwork Orange'. These spots featured audience reaction footage taken by night vision cameras of an invited preview audience to entice audiences in. This clearly proved well due to the $82,719,885 box office total.
The institutional context is evident in the opening sequence because of the high quality camera work, mise-en-scene and the use of sound adds to the high production values - the diagetic dialogue is crisp and non-diagetic music sounds professional.
MC: Preliminary Task Evaluation
- We were set a task to film a sequence in continuity, bearing in mind the 180 degree rule while filming and continued in editing.
- 2 lines of dialogue were required, and our group discovered the ease in sound bridges created during editing. During the filming phase, we had this in the back of our minds, and included reaction shots to keep the simulation of reality.
- An opening of a door was also filmed, and we filmed this at multiple angles from a few shots. I discovered an artistic shot of ours during our experimentation, of the protagonist approaching the door as a refection in the door handle.
- We learned that using a variety of angles for every piece of character action should be taken. We also learned about filming chase scenes effectively; we will apply this knowledge to the final film opening.
- It can be effective to use a variety of shots and angles for every shot as there is more material to choose form during editing. Plus there may be hidden errors you were oblivious to, such as an unwanted noise or person in the background. We discovered the successful use of sound bridges, as well as the use of colour wash. Through editing contrast and auto-colour correction, we gave the sequence a more cinematic feel, heightening the production values.
- The strengths of our extract is the cinematic feel provided through post-production colour wash and precise continuity achieved. We experienced some problems of excess sounds in the shots. Specifically shots commencing too quickly after ‘action’ was sounded. We might draw form this and have silent count-ins with future filming.
- 2 lines of dialogue were required, and our group discovered the ease in sound bridges created during editing. During the filming phase, we had this in the back of our minds, and included reaction shots to keep the simulation of reality.
- An opening of a door was also filmed, and we filmed this at multiple angles from a few shots. I discovered an artistic shot of ours during our experimentation, of the protagonist approaching the door as a refection in the door handle.
- We learned that using a variety of angles for every piece of character action should be taken. We also learned about filming chase scenes effectively; we will apply this knowledge to the final film opening.
- It can be effective to use a variety of shots and angles for every shot as there is more material to choose form during editing. Plus there may be hidden errors you were oblivious to, such as an unwanted noise or person in the background. We discovered the successful use of sound bridges, as well as the use of colour wash. Through editing contrast and auto-colour correction, we gave the sequence a more cinematic feel, heightening the production values.
- The strengths of our extract is the cinematic feel provided through post-production colour wash and precise continuity achieved. We experienced some problems of excess sounds in the shots. Specifically shots commencing too quickly after ‘action’ was sounded. We might draw form this and have silent count-ins with future filming.
MC: Film Analysis 2: Zombieland (Fleisher, 2009)
NARRATIVE
The opening sequence of Zombieland (Fleisher, 2009) is organised in a way that audience positioning is prominent. Stereotypically the audience identify with and experience the un-effected people as the protagonist characters. In the opening sequence, a variety of slow-motion shots. This time expansion displays a variety of social groups and class definition of people positively and negatively represented. The audience identify with the uniformed characters, connoting working class, ordinary people. For example, we relate with the police with riot shields. The framing of this shot places the audience on the side of the shields, as if we are wielding off a rabid animal.
Other shots of those at a wedding, a mechanic, fathers and sons at a park, as well as a repenting Christian stereotype and a girl spilling a pink milkshake.
All these characters are being chased by zombies - the audience sympathise with these characters heavily due to a combination of these costumes and props with the connotations of fear in their expressions. In addition, a POV handycam places the audience with the unaffected. Other representations in this opening sequence alienate the infected people from their disgusting and disturbingly unattractive details such as projecting black blood from its mouth.
However, the negatively represented characters in this opening are not only zombies, but the men running away from a stripper zombie. They are clutching money and alcohol in their hands and the audience experience schadenfreude as we might oppose their hedonistic and cynical ways. High amounts of tension and levels of aggression are derived through the montage of extreme action. People are running for their lives and the tension is supported and maintained through the use of fast-paced rock music, performed by a renowned metal rock band Metalica. They are widely known for screaming and shouting during their aggressive songs.
INSTITUTIONAL CONTEXT
- The main protagonist and star Jesse Eisenberg is used for the sole purpose of being an unconventional hero and character that ‘get’s the girl’ (Emma Stone) in this film. He is an adolescent, cautious American; arguably a misfit of society. He also provides a sardonic voice-over throughout the film, connoting a self-conscious character but also providing an insight into his thoughts. Being the only character to do this, Eisenberg is given prevalence and the audience are able to relate to this him.
- Industrial film company Relativity Media produced the film, with the producer Ruben Fleischer.
- Industrial film company Relativity Media produced the film, with the producer Ruben Fleischer.
- In the opening, there are four rules on ‘how to survive zombieland.’ These are provided with a voice over from Eisenberg, coupled with text graphics on screen, as if they are video game titles. These titles are rendered in 3-D and interact with the series of images surrounding them; being cut through with an axe or splattered with blood. In this instance, the title ‘#1 CARDIO’ pulses as if it is a beating heart.
Sunday, 29 January 2012
JC: Film Analysis 2: Zombieland (Fleischer, 2009)
Zombieland (Fleischer, 2009)
MEDIA AUDIENCES
- The target audience of this film are the core horror cinema audience: 16-29
From the opening, the audience can assume that the film is largely based around crude humour (Over-gory blood effects, people being attacked in compromising situations, exaggerated hard-rock soundtrack.)
- As a British teenager, I view this opening as a typical, american horror-comedy.
- From watching the opening alone,I feel as if the entire film relies on crude humour to support a possibly poor storyline and exaggerated, unecessary gore.
- Many people of my age group would possibly find this film entertaining however, I think the exaggerated music and gore make the film seem generic and uninteresting.
REPRESENTATION AND IDEOLOGY
-This opening represents a few stereotypes of american society:
- The brief narrative of: 'Fasten your seat belts, it's gonna be a bumpy ride' is read in a young, male voice, which suggests that the protagonist of the film is an american adolescent.
Other stereotypes include:
- Homeless man preaching the rapture
- Overweight businessman visiting strip clubs
- Young man firing machine gun
JP: Preliminary Task Reflection
Our brief for our preliminary task was to create a continuity sequence consisting of at least one shot of a door opening and two lines of dialogue.
To shoot continuity we needed to consider:
- 180 degree rule
- Reaction shots
- Juxtaposition of shots
- Eyeline match
- Cut on action
When filming, I found that shooting shots twice means that when it comes to post-production and editing you can select the best take and discard one with errors in.
Our best shots were the establishing shot where the antagonist was revealed from behind railings/bars - instantly connoting jail, prison and some kind of conviction - revealing that he is the antagonist. Our first door open shot was another good take, especially after cutting on action.
One of our main difficulties was cutting on action continuously and trying to position the audience with the protagonist.
In post-production, I found it successful that we were able to decide which shots to use because we had done two takes of each one. I found cutting on action easy and realised how much it affects continuity.
We added a distinct high contrast, auto-colour correction onto the final edit to make it look more distinct and raise the production values.
Strengths: 180 degree rule, camera framing and positioning, and the colour correction - adding an air of verisimilitude to the final cut.
Weaknesses: Shooting 2 or 3 seconds either side of the action for post-production to be easier.
Targets: Aim to shoot 3 seconds before the action.
JP: Film Analysis 2 - Dawn of the Dead (Snyder, 2004)
Dawn of the Dead (Snyder, 2004)
Link disabled due to copyright reasons.
Link disabled due to copyright reasons.
NARRATIVE
Tzvetan
Todorov (1969) coined the term "narratology" for the analysis of a
narrative into its structure. The story is what is narrated as a chronological
sequence of themes and plot lines, therefore the plot represents the logical
structure of a story, explaining why its events occur.
The
narrative of the opening scene is generic in how it is structured. The scene is
set in America suburbia, and within the first five minutes the audience are
introduced to the concept that people have turned into zombies. The tension
rises as the female protagonist tries to escape from her loved ones who have
turned to zombies and are trying to kill her.
The
audience are positioned with the protagonist, from the opening scene, who is a
mother and wife. Therefore the audience are positioned with a US citizen that
is not a zombie, offering a 'traditional zombie movie' perspective that the
audience is always positioned with the character trying to escape from the
zombies.
The
major themes used in the narrative of this opening sequence are...
Tension
is created through the juxtaposition of the shot of 'Breaking News' and the
shot of the protagonist waking up. This links the two shots and suggests that
something bad will happen to the protagonist. Tension is also created with the
building use of rhythmic sound as the protagonist struggles to keep her dying
husband alive. The tension is maintained through the fast cutting rate during
the sequence where the daughter attempts to bite the protagonist. Also the
sequence starting in the bathroom when the protagonist creeps up to the door is
full of tension due to the use of no sound - just silence - connoting fear and
the connotation that something is wrong shines through.
REPRESENTATION & IDEOLOGY
Ordinary
citizens are represented in this opening sequence, along with infected people
(zombies). Despite this, large macro groups such as homosexuals, different
ethnicities or people with different regional identities aren't represented as
the three main characters in the sequence seem to be part of a traditional
nuclear family in America and are all white.
It
is difficult to identify the ideological discourse from this film opening
sequence because it is a zombie film, and is so 'far from home' that it seems
unrealistic, because zombies are not real. It is therefore hard to isolate
different audience readings and beliefs from this sequence.
JC: Preliminary Task Reflection
In our preliminary task, we included the following techniques of continuity editing:
- Maintaining the 180 degree rule
- Shot reverse shot
- Eyeline match
- Using matching cuts when doors are being opened
During filming we learnt that shots need to be shot at least twice in order to have enough footage to work with. Our best shots were the opening door, the reaction shots during dialogue, and the two shot of both characters either side of the door. Our main difficulty during filming was weather continuity, as we filmed over two days and the weather was changeable on both. However, we managed to shoot our outdoor scenes well to use in the final edit.
During editing we learnt how continuity makes a film seem extremely realistic also, consecutive cuts both need to start and end with motion in order to create verisimilitude. During post-production, we found that shots which contained a few seconds of action before the desired cut time were more malleable during editing, as they provided us with motion which improved the continuity. By adding a high-contrast effect and colour correction over the final edit, it made the film appear more cinematic and high-quality.
Strengths: Continuity, rhythms of intercutting, camera postioning and framing.
Weaknesses: Lack of flowing motion in a few shots.
Tips:
-Ensure that a few extra seconds of filming is on the start and end of each cut.
- Maintaining the 180 degree rule
- Shot reverse shot
- Eyeline match
- Using matching cuts when doors are being opened
During filming we learnt that shots need to be shot at least twice in order to have enough footage to work with. Our best shots were the opening door, the reaction shots during dialogue, and the two shot of both characters either side of the door. Our main difficulty during filming was weather continuity, as we filmed over two days and the weather was changeable on both. However, we managed to shoot our outdoor scenes well to use in the final edit.
During editing we learnt how continuity makes a film seem extremely realistic also, consecutive cuts both need to start and end with motion in order to create verisimilitude. During post-production, we found that shots which contained a few seconds of action before the desired cut time were more malleable during editing, as they provided us with motion which improved the continuity. By adding a high-contrast effect and colour correction over the final edit, it made the film appear more cinematic and high-quality.
Strengths: Continuity, rhythms of intercutting, camera postioning and framing.
Weaknesses: Lack of flowing motion in a few shots.
Tips:
-Ensure that a few extra seconds of filming is on the start and end of each cut.
Tuesday, 24 January 2012
MC: Continuity In Filming
After trial filming, I discovered the importance of continuity. Camera techniques must be constantly in the back of your mind.
- 180 degree rule during every shot - from conversations to filming character actions
- During conversations, sound bridges should be used
- You must not cut from handycam to a steady shot
- Reaction shots
- Cutting on action so the the sequence flows
I realised that once the 180 degree rule is broken the sequence becomes confusing and unnatural. Sound bridges and cutting on action are camera techniques that make the film seem more professional; along with a range of shots being effective. Shooting multiple takes of the same shot as well as a variety of angles will give the editor more to choose from and will make the entirety more cinematic and a better, more flowing sequence overall.
- 180 degree rule during every shot - from conversations to filming character actions
- During conversations, sound bridges should be used
- You must not cut from handycam to a steady shot
- Reaction shots
- Cutting on action so the the sequence flows
I realised that once the 180 degree rule is broken the sequence becomes confusing and unnatural. Sound bridges and cutting on action are camera techniques that make the film seem more professional; along with a range of shots being effective. Shooting multiple takes of the same shot as well as a variety of angles will give the editor more to choose from and will make the entirety more cinematic and a better, more flowing sequence overall.
JC: Continuity camera techniques
There are several things which I learnt about continuity from the first filming lesson:
- Shot reverse shot
- 180 degree rule
- Eye-line match
- Cutting on action
- Sound Bridges
- Reaction shots
Also, using more cuts makes the feel seem more cinematic and professional, and using similar camera techniques to film consecutive shots (such as handy-cam or static shot) can also create tension or harmony.
Feedback 1 CF
Excellent progress so far - well presented posts, excellent detail in opening analysis, clear record of research. Now aim to comment on each other's work and show how your group are collaborating and generating ideas.
Well done - an excellent L4 start to planning.
Well done - an excellent L4 start to planning.
Monday, 23 January 2012
JC: Film Analysis - I Am Legend (Lawrence, 2007)
I Am Legend (Lawrence, 2007) - Opening Scene
Genre
- This film is a post-apocalyptic science-fiction.
- The audience's generic expectations of the genre are met by a realistic introduction which concerns an issue which is relevant to contemporary medical studies: Can cancer be cured?
Instead of zombies, the threat towards the characters are humans who have been infected by the failed vaccine for cancer. This gives the story a sense of verisimilitude, as it also explores the ethics of human medical science. The use of a staged news interview also reinforces the realism of the story.
- The film does not necessarily conform to the characteristics of the genre, as the presence of the infected is not immediately evident.
Narrative
- The audience is placed with the protagonist, Robert Neville, who has characteristics of the 'hard man' stereotype e.g: accustomed to violence, showing little fear.
- The protagonist is made to seem resourceful, as he drives an expensive car throughout the abandoned city and has possession of a large firearm. He also owns a dog, possibly to assist him in hunting deer and finding infected humans.
- The major themes are not revealed in the opening however, as the film progresses, it becomes evident that the main themes are human survival and the ethics of genetic engineering.
- Tension is created by the protagonist attempting to find and capture an infected human specimen in order to find a cure for the disease. This ultimately leads to the climax of the film, where the protagonist sacrifices himself for the good of man-kind.
JP: What I learnt about how to use the cameras & shooting continuity.
Cameras & Tripods
- Position the cameras lens up when replacing them
- The SD Card is loaded at the top and remember to take it out when returning the cameras
- The battery is inserted near the fold out screen and needs to be replaced when returning the cameras
- To position the camera on the tripod unlock the section which screws into the camera, screw it in, then replace it and lock it
- Always remember to tighten the panning handle for static shots
- When creating handicam footage keep the camera on the tripod to use as balance
Shooting Continuity
- There are several continuity techniques:
- Eyeline match
- 180° rule
- Shot/Reverse shot
- Reaction shots
- Cut on action
- I have learnt that the two key continuity techniques to bear in mind are cut on action and the 180° rule because if the 180° rule is broken then the audience will get confused and mix up the characters
- This diagram shows how the camera can move anywhere in the green zone up to 180°, however if the camera crosses into the red zone the characters change position on the screen and the audience will get confused
- Position the cameras lens up when replacing them
- The SD Card is loaded at the top and remember to take it out when returning the cameras
- The battery is inserted near the fold out screen and needs to be replaced when returning the cameras
- To position the camera on the tripod unlock the section which screws into the camera, screw it in, then replace it and lock it
- Always remember to tighten the panning handle for static shots
- When creating handicam footage keep the camera on the tripod to use as balance
Shooting Continuity
- There are several continuity techniques:
- Eyeline match
- 180° rule
- Shot/Reverse shot
- Reaction shots
- Cut on action
- I have learnt that the two key continuity techniques to bear in mind are cut on action and the 180° rule because if the 180° rule is broken then the audience will get confused and mix up the characters
- This diagram shows how the camera can move anywhere in the green zone up to 180°, however if the camera crosses into the red zone the characters change position on the screen and the audience will get confused
MC: Film Analysis - What Lies Beneath (Zemicks, 2000)
What Lies Beneath (Zemicks, 2000)
Opening Sequence
In the opening of What Lies Beneath (Zemicks, 2000), almost the
entire sequence is shot in one cut. This adds to the overall tension of the
sequence as the audience are positioned with the protagonist and experience her
anxiety and obliviousness to what is suggested to be around the corner. There
are multiple conventions of horror reinforced, as the atmosphere is incredibly
tense.
There is a distinct lack of white noise, further isolating
this character the audience are positioned with. The only diagetic sound the
audience can hear is the quite, minimal footsteps of the woman, further
connoting her vulnerability; as well as the sound of running water. Steam is in
the air, which comes as a surprise to this character, as we are under the
impression she is alone. With the ideology that a bath is being run, we assume
someone is in her house, uninvited. As she turns to notice this floating steam,
there is a discordant high-range strings noise in accord with her actions. This
is to put a ‘shiver’ down the audience’s spine and create a chilling
atmosphere.
The way the actor moves cautiously and slowly, with
non-verbal language of her hands out to balance; the audience are positioned
with her. As she approaches the door, we hear the high-range strings noise
which we have already grown to hate. Selective sound is also used, a generic
horror movie trait. The woman’s sharp breath when she enters the steam-filled
bathroom gives connotations of not only the heat of the room, but makes us
understand she may have been holding her breath being so scared; and heightened
emotions, that she may be on the verge of crying.
A low-pitched drone is heard when she is approaching the
bath, and as the camera seems to pan into the bath, more discordant sounds are
heard, frightening the audience and seemingly triggering more selective
out-of-breath sounds. When the camera pans around to her shocked face, we see a
movement in the mirror, in conjunction with a loud eerie sound. This is a
large event of the sequence, and
heightens the fear factor, as the audience understand there is a greater force
doing these ghostly acts. When we see writing appear in the condensation, in
text that drips down connoting blood, dramatic irony is employed, as the
protagonist does not notice this supernatural act initially. When she peers into the
bath, we see an outline in the steam of her face. This face is small and resembles
a female child, a very freighting image.
As she runs away, the sequence reaches a climactic point as
the music experiences a crescendo and she is panting and crying. This
culmination of no-diagetic and diagetic sound adds to the panic of the audience
and we relate to the female character as if we were there. The supernatural
force types on the screen of the computer, further connoting a greater force
possessing the protagonist’s house of even her. The sound and tense building
techniques used in this sequence are typical conventions of the genre horror,
reinforcing the stereotypical conventions.
JP: Film Analysis 1 - Shutter Island (Scorsese, 2010)
Shutter Island (Scorsese, 2010)
Link disabled for copyright reasons
GENRE
This film belongs to the thriller genre.
The audience’s generic expectations of the
text are fulfilled in the opening due to the use of non-diagetic eerie piercing
sounds, misty weather and a scary location (both on the water on a ship and on
an isolated island). However it could be argued that the audience’s generic
expectations of the text are challenged because the film adopts a Noiristic
style, in turn partially obscuring the protagonist.
By using the Noir style the text does not
conform to the characteristics of the genre, instead treating them playfully.
Many thriller films do not do this, therefore challenging the generic
conventions of the thriller genre.
LANGUAGE
The mise-en-scene in the opening sequence
is key for introducing the audience to the characters, in other words character
exposition. The trench coat and trilby hat that the protagonist wears connotes
secrecy, mystery and crime. However if the audience looks deeper, the coat and
hat are iconic conventions of the Noir style and the trilby hat partially
obscures the protagonists face (another convention of Noir).
Also the grey and silver metal on the boat connotes
the thought of trapping someone into somewhere – especially the railings and
bars. The colour grey is dull and reflects the murky, misty weather in the
opening.
The use of camera work in the opening
positions the audience with the protagonist. The use of a CU on the protagonists’
face allows the audience to see his reactions to the situation that he is in
and he is positioned central in the lens allowing the audience to focus
entirely on his expressions. The MS two-shot shows the conversation between the
two characters and allows the audience to see that they are on a boat because
of the water in the left of the frame. The ELS reveals the island and the
location including the weather building the tension and suspense in the
opening.
The deep string non-diagetic music starts
when the island is revealed connoting fear and anchoring the image. The
non-diagetic eerie sounds also follow the traditional conventions of a thriller
opening and build the tension as the titles come up on screen.
The dialogue positions the audience with
the protagonist, in particular the line “Pull yourself together. Pull yourself
together.” makes the audience feel sympathy for the protagonist but also
questions why he needs to pull himself together or what is the situation that
he is in. The non-verbal language of the protagonist further reinforces the
worry that the audience feels towards him due to the scared, sick emotions on
his face.
The director chooses low-key lighting for
the first part of the opening when the protagonist is inside connotes mystery
and follows the traditional generic conventions of a thriller. However the
director may have chosen to use this style of lighting to reinforce the Noir
style that he has chosen to adopt for the film.
Sunday, 22 January 2012
JC: What are the conventions of Horror, Thriller and Noir?
Conventions of Horror
- Non-diagetic sounds such as music and supernaturual noises. Discordant strings which increase in pitch are commonplace in horror films, as they greatly contribute to building suspense and also anxiety.
- Use of selective sound to draw the audience's attention to something e.g: footsteps, doors creaking
- Varying rhythms of shots which helps create tension and also a sense of unpredictability
- The audience is placed with the protagonist, who is usually the victim of the supernatural or horrific antagonist. However, in The Amityville Horror (Douglas, 2005) the audience is placed with the protagonist who kills his family, which distances the audience from him.
Conventions of Thriller
- Frequent scenes of violence and action.
- Protagonist is often the stereotype of a 'hard man' who is accustomed to danger.
- Anti-heroes are also often featured as protagonists, e.g: Dominic Cobb in Inception (Nolan, 2010) is a professional thief.
- Suspense and cliff-hangers (often leading to a sequel or series: The Bourne Series (Liman, Greengrass, 2002, 2004, 2007)
Conventions of Noir
- Low-key lighting which creates contrast between shadows and small sources of light such as a lamp.
- Shadow patterning which partially obscures characters or parts of the set. Venetian blinds and banister rods are often used to achieve this
- Flashbacks
- Narration
- Anti-heroes as protagonists
- A 'Femme Fatale' character who will often attempt to distract or prevent the protagonist from achieving his goals.
- Canted-angle shots which disorient the audience, but increase the enigma of the characters e.g: the opening scene of Casino Royale (Campbell, 2007)
Subscribe to:
Posts (Atom)