Most film openings do not relate directly to the plot, but they lead into events that do. They are a way to set contexts for the film, such as where it is set, what year or era, who some of the characters are, or what they may be like.
Film openings are sometimes a kind of prologue, in which case usually the characters and era of the film are not established, however the general themes could be. For instance if a film is set in space on a nice planet that is soon going to be invaded by nasty aliens, the opening could be some kind of conference held by the nasty aliens, deciding the fate of the nice planet. This would not relate directly to the plot, however it does establish the sci-fi themes in the film, and also the general tone.
Sometimes film openings almost appear somewhat like anecdotes not entirely relating to the plot, but introducing the main themes and/or characters. For example, the opening to "My Girl" is Veda sitting at the kitchen table while her father makes a sandwich, explaining to the audience how she has so many afflictions and illnesses. She turns to her father and states her concern about one of many illnesses, and her father asks her to "pass me the mayonnaise out of the fridge." This allows the audience to recognise the relationship Veda has with her father, and it also indicates that she is a hypochondriac, thus giving the audience enough information about the main characters and themes of the film, to allow them to make connections and understand the context of the rest of the film.
In general film openings are a way to quickly introduce the audience to the various aspects of the film. Alot of information has to be coded in a film opening for the audience to recognise and understand.
Tuesday, 11 October 2011
Film Opening Plans!
Initial ideas for subject matters:
> Zombies
>Supermarket shoot-out
>Trivial showdown. (Fight scene over something trivial E.G. last cookie in cookie jar.)
> ZOMBIE COWBOYS! :D
In the end we chose to set our film (which will be comedic) in the middle of a zombie apocalypse, and include western themes. We will use western music and extreme close-ups of eyes conventional of western films.
Characters:
Hero:
> Archetype of a hero
> Stereotypical Texan (Cowboy)
> He has a horse.
> On a journey to find salvation because all of his family are dead.
> He takes the little guy on as a "partner" because he misses the company and he secretly sees
a little of himself in him. (Although he doesn't show this and is quite standoffish)
> He always wears a hat, and makes a point of not losing it despite their situation.
> He used to smoke, and is saving his last cigarette for in case he is in a situation he cannot
escape.
Little guy:
> Stereotypical nerd (Obsessive over Warhammer and worked in Games Workshop)
> Didn't have much of a life, he lost contact with his family, so there is still hope, but not much.
> He's been hiding out in Games Workshop with his nerdy Warhammer friends ever since the
apocalypse started. All of his workmates tried to barricade the shop, they held out for a while,
but in the end they too fell to the power of the zombies, only the little guy escaped.
> He is particularly good at strategy because of his years of playing Warhammer.
> He is needy and weak despite his intellect.
> He has a slight obsession with hygiene and therefore feels the need to wash all wounds with
surgical spirit or antiseptic of some sort.
Story: (In 3 act structure.)
ACT 1:
1. Opening: Intro to zombie apocalypse, hero saves little guy from zombies, they become
friends.
2. The little guy follows the hero to his hide-out, and they establish a fairly mutual partnership
where they can work together fairly well.
ACT 2:
3. The little guy is injured, so begins cleaning out his wound with some surgical spirit. Although
they don't know this yet, the surgical spirit is what attracts the zombies to their hide-out, thus
there is a zombie invasion.
4. After battling and escaping, the hero and the little guy run to the nearest hospital to find more
provisions.
ACT 3:
5. They search for surgical spirit, among other things, but all of the bottles are smashed and/or
empty. While searching they walk in on a room full of zombies smelling and ingesting surgical
spirit.
6. The zombies chase them, and as they are running they talk about what they have just seen,
they realise, however ridiculous it may seem, the zombies are attracted to surgical spirit.
Eventually they are surrounded so they run into a cupboard which is the only option, it is full of
surgical spirit.
7. The hero and the little guy run out of the cupboard poring surgical spirit over every zombie in
sight and over the whole hospital, when they have sufficiently covered it the hero lights a
cigarette, takes a drag and then throws it into the flammable chemicals. The hospital
explodes just as the pair leap out James Bond-esquely. (Note the use of the last-chance
cigarette, foreshadows his death! :D)
8. When outside, the hero, who has never given the little guy his full respect, declares his
acceptance of him, and gives him his hat in a last gesture of approval before an unexpected
flaming zombie mauls him. From here-on the little guy takes on the roll of hero and fights off
the remaining zombies present, saving an even littler guy in the process. Thus allowing the
film to come full-circle, ending in the same way as the start.
(Alternatively the Hero stays in the hospital, smokes and explodes the hospital with him inside it, in order to save the little guy. In this instance he gives the hat to the little guy, thus passing on his role as hero. The little guy does a solitary James Bond-jump. Outside he saves the littler guy from a flaming zombie, still allowing the film to come full circle.)
There is a narrative arc from the little guy being rescued to the little guy rescuing the littler guy.
The Opening:
1. The little guy is running through the zombie wasteland of a city. (Pay extra attention to zombie
warning posters and blood splatters in the scenery.)
2. The little guy looks behind him just in time to run straight into a lamp-post and knock himself
out. (Bird's eye view [or maybe reverse zoom?] shot)
3. 2 zombies step into the scene. (Crab shot, 1 zombie visible in the background, 1 steps into
the foreground, conventional of western films)
4. Very high tension, loud escalating western music, lots of close-ups (eyes narrowing, hands
flexing [if applicable] etc.)
5. Intense music and tension build up, breaks into only dietetic sound and zombie amble
towards each other in that charming way only a zombie can.
6. Establishing shot to add humor. (Zombies ambling towards each other, little guy lying in the
middle for zombies to fight over.)
7. Medium shot of 1 zombie, he stops, eyes widen, "Uuuuughhhh!" and collapses dead. He falls
to reveal the hero standing behind him, having stabbed him.
8. Pan and tilt upwards simultaneously into a low-angle shot of the hero, silhouetted slightly by
the sun.
9. Hero takes off his hat, rubs his head, replaces the hat and says a very cool zombie-related
pun. (We're still working on the pun.)
Monday, 10 October 2011
Analysis of a sound clip.
http://www.youtube.com/watch?v=PpiPEWDwK_Q
In this clip non-diegetic sound is only used in the chase at the beginning. This not only makes the violence more light-hearted and assists in making the sequence more action packed, but it is used to foreshadow the outcome of the struggle.
The diegetic running and struggling sounds combined with the music gives an impression of a highly action-packed chase. The audience cannot see what is happening behind the wall and therefore the diegetic sounds are slightly confusing, but obviously violent. While this struggle is taking place the music, linking this drama to the 1980s, escalates to climax on Gene Hunt's line, "Would somebody like to gimme a hand dragging this bastard back over?" His way of speaking and tone both match the violent way that the police are represented. Alex Drake, the woman's reply is significant as it poses a question immediately answered by the next scene.
It is clear that the setting has changed as there is no non-diegetic sound or music to lend atmosphere; this setting is much more realistic and mundane. The police station is much more quiet and as the news broadcast comes on there is an audible change in sound quality, signifying that the reports are being broadcasted and viewed on a television. Where the police station's diegetic sounds are much more realistic than the chase scene, the television sounds are more far-off sounding, and therefore also less realistic. This may not only be to show the use of a television, but also to draw a firm distinction between the action being faced by the police, and the normality of work in the office environment.
The aforementioned music (No More Heroes - Stranglers) is playing over the chase scene to punctuate the apparently unjust nature of the police. In Alex's opinion the police force is not professional, and this is reinforced by the upbeat music, making the chase and police in general seem less serious. This almost makes a mockery of the police force. Also Gene Hunt's accent and tone are stereotypically associated with rough people or possibly those of lower classes. This denotes that the police are as bad as those they live to prosecute, especially seeing as the audience is aware that the police were the vandals mentioned on the television.
It is also relevant that at the end, the female voices her pity for the fish, and Gene Hunt, the male figure of authority, dismisses this remark without a though. This mediates men as much more violent and destructive than women.
In this clip non-diegetic sound is only used in the chase at the beginning. This not only makes the violence more light-hearted and assists in making the sequence more action packed, but it is used to foreshadow the outcome of the struggle.
The diegetic running and struggling sounds combined with the music gives an impression of a highly action-packed chase. The audience cannot see what is happening behind the wall and therefore the diegetic sounds are slightly confusing, but obviously violent. While this struggle is taking place the music, linking this drama to the 1980s, escalates to climax on Gene Hunt's line, "Would somebody like to gimme a hand dragging this bastard back over?" His way of speaking and tone both match the violent way that the police are represented. Alex Drake, the woman's reply is significant as it poses a question immediately answered by the next scene.
It is clear that the setting has changed as there is no non-diegetic sound or music to lend atmosphere; this setting is much more realistic and mundane. The police station is much more quiet and as the news broadcast comes on there is an audible change in sound quality, signifying that the reports are being broadcasted and viewed on a television. Where the police station's diegetic sounds are much more realistic than the chase scene, the television sounds are more far-off sounding, and therefore also less realistic. This may not only be to show the use of a television, but also to draw a firm distinction between the action being faced by the police, and the normality of work in the office environment.
The aforementioned music (No More Heroes - Stranglers) is playing over the chase scene to punctuate the apparently unjust nature of the police. In Alex's opinion the police force is not professional, and this is reinforced by the upbeat music, making the chase and police in general seem less serious. This almost makes a mockery of the police force. Also Gene Hunt's accent and tone are stereotypically associated with rough people or possibly those of lower classes. This denotes that the police are as bad as those they live to prosecute, especially seeing as the audience is aware that the police were the vandals mentioned on the television.
It is also relevant that at the end, the female voices her pity for the fish, and Gene Hunt, the male figure of authority, dismisses this remark without a though. This mediates men as much more violent and destructive than women.
Sunday, 9 October 2011
Initial ideas for my film opening!
Me and Clara have talked briefly about our film-opening, and together we have formed an idea of a western-themed supermarket extravaganza.
To elaborate there would be 2 people in a supermarket. (Possibly a mother and son, possibly 2 friends) The child, or 1 of the 2 people would be miming shooting people and possibly lassoing things. There would be western music and non-diegetic lasso and/or gun sounds. The wannabe-cowboy would be so very entranced by their own imaginations that their cowboy antics would be contrasted strongly with their friend/mother grabbing their attention by talking to them. At this point the music would stop and all sound would be replaced with mundane diegetic sound. To begin with, the audience would not know that the rouge wannabe-cowboy was with anyone, however the second character would be introduced naturally when they find their friend/child. Our opening would end with the 2 people meeting.
To elaborate there would be 2 people in a supermarket. (Possibly a mother and son, possibly 2 friends) The child, or 1 of the 2 people would be miming shooting people and possibly lassoing things. There would be western music and non-diegetic lasso and/or gun sounds. The wannabe-cowboy would be so very entranced by their own imaginations that their cowboy antics would be contrasted strongly with their friend/mother grabbing their attention by talking to them. At this point the music would stop and all sound would be replaced with mundane diegetic sound. To begin with, the audience would not know that the rouge wannabe-cowboy was with anyone, however the second character would be introduced naturally when they find their friend/child. Our opening would end with the 2 people meeting.
Analysing Film Openings: Local Hero
http://www.youtube.com/watch?v=LsbD97MnJMg
Like Brokeback Mountain, this film has the institutes involved in production, shown at the beginning, only as this film is older it has most of the other members involved, credited as well.
This film probably has very high production values as many crane-shots and such are used even at this very early stage in the film.
This opening establishes that the film is lighthearted immediately. The sound gives the audience an idea of the setting and tone. The sound is diagetic as it is the radio station that the man in the car is listening to. The enthusiastic radio-voice is contrasted with the man in the car looking very bored, this juxtaposition is comedic. A tracking shot of a white car, and a close-up of the man in it, are followed by a tilt shot of a very tall building, possibly to reveal some more aspects or themes of the plot. From here non-diegetic sound, such as a voice-over and some upbeat music is used over a montage of some oil pipes. This denotes some kind of revolutionary idea, also building a greater picture of what the film may continue to involve. It is then revealed that the oil-pipes series is actually a video playing in some kind of conference. (This is shown by a close-up of a man watching the video, with the screen reflected in his glasses) At this conference people are asleep, this adds a comedic quality to this film. There is also a contrast between the upbeat oil video and the businessmen. The exaggeration used in this opening also signifies that this film is comedic.
Although it is not completely clear who Local Hero represents at this stage, I would imagine it was businessmen, such as the man in the white car. The class is probably average, as there is no particular reference to class in this opening, however the region is obviously Texas, as it is mentioned on the radio, and is shown in the oil video. Disability, ethnicity, gender and age do not appear to be referenced particularly, however the man in the white car appears to have no visible disability, he is probably American and I would estimate that he is in his early 30s.
Like Brokeback Mountain, this film has the institutes involved in production, shown at the beginning, only as this film is older it has most of the other members involved, credited as well.
This film probably has very high production values as many crane-shots and such are used even at this very early stage in the film.
This opening establishes that the film is lighthearted immediately. The sound gives the audience an idea of the setting and tone. The sound is diagetic as it is the radio station that the man in the car is listening to. The enthusiastic radio-voice is contrasted with the man in the car looking very bored, this juxtaposition is comedic. A tracking shot of a white car, and a close-up of the man in it, are followed by a tilt shot of a very tall building, possibly to reveal some more aspects or themes of the plot. From here non-diegetic sound, such as a voice-over and some upbeat music is used over a montage of some oil pipes. This denotes some kind of revolutionary idea, also building a greater picture of what the film may continue to involve. It is then revealed that the oil-pipes series is actually a video playing in some kind of conference. (This is shown by a close-up of a man watching the video, with the screen reflected in his glasses) At this conference people are asleep, this adds a comedic quality to this film. There is also a contrast between the upbeat oil video and the businessmen. The exaggeration used in this opening also signifies that this film is comedic.
Although it is not completely clear who Local Hero represents at this stage, I would imagine it was businessmen, such as the man in the white car. The class is probably average, as there is no particular reference to class in this opening, however the region is obviously Texas, as it is mentioned on the radio, and is shown in the oil video. Disability, ethnicity, gender and age do not appear to be referenced particularly, however the man in the white car appears to have no visible disability, he is probably American and I would estimate that he is in his early 30s.
Analysing Film Openings: Brokeback Mountain
http://www.youtube.com/watch?v=M_BbzzqsYrA
All of the institutions who took part in the production of this film are credited at the beginning, before the film actually starts. (Focus Features and River Road Entertainment) It is clear that this film has a high production value, as even this early on in the film, a public place is used. (The road)
Gentle music is used to open this film, this sets the tone for the entire film, however when this music ends only diagetic sounds are used. This makes the silence between Ennis and Jack much more momentous and meaningful. Although no definite themes are shown yet, the tension between the 2 men denotes themes of homosexuality. Also although you cannot tell this from the opening alone, gay people are mediated in this film. They are represented as normal people who are discriminated against. This film is set in the 1960s (as shown in a subtitle to set a time-context) and it is a known fact that gay people were discriminated against in those years.
The setting is also made obvious by the denim, the hats and the boots conventional of Texas. The hats are worn low over the men's faces, showing that they are trying to avoid eye-contact. It also lends mystery to both of them. The shot/reverse shots used show that they are watching each other and already formulating opinions about one another, this is reinforced by the close-up of the car-wing mirror where Jack is watching Ennis' reflection. It is clear that there is some sexual tension between them even at this early a stage in the film.
Brokeback Mountain is a very subtle film and is therefore aimed at a mature and perceptive audience.
All of the institutions who took part in the production of this film are credited at the beginning, before the film actually starts. (Focus Features and River Road Entertainment) It is clear that this film has a high production value, as even this early on in the film, a public place is used. (The road)
Gentle music is used to open this film, this sets the tone for the entire film, however when this music ends only diagetic sounds are used. This makes the silence between Ennis and Jack much more momentous and meaningful. Although no definite themes are shown yet, the tension between the 2 men denotes themes of homosexuality. Also although you cannot tell this from the opening alone, gay people are mediated in this film. They are represented as normal people who are discriminated against. This film is set in the 1960s (as shown in a subtitle to set a time-context) and it is a known fact that gay people were discriminated against in those years.
The setting is also made obvious by the denim, the hats and the boots conventional of Texas. The hats are worn low over the men's faces, showing that they are trying to avoid eye-contact. It also lends mystery to both of them. The shot/reverse shots used show that they are watching each other and already formulating opinions about one another, this is reinforced by the close-up of the car-wing mirror where Jack is watching Ennis' reflection. It is clear that there is some sexual tension between them even at this early a stage in the film.
Brokeback Mountain is a very subtle film and is therefore aimed at a mature and perceptive audience.
Thursday, 29 September 2011
Analyse How Gender is Represented in an Extract of Prime Suspect.
http://www.youtube.com/watch?v=KuJt7mF_Jzo (first 5 minutes)
Men are presented as thinking themselves superior to women in this extract to the extent that Helen Mirren's character feels pressured to be like a man. A man who is superior to her describes her by stating, "She's got balls." This shows that, as a woman, she is expected to be masculine in order to do her job. This is also shown by Mirren's short hair-cut, presenting her as more masculine. Although Prime Suspect appears to support the view of equality between men and women, it is clear that Helen Mirren's character feels inferior to her male colleagues.
In the first scene Helen Mirren is being interviewed by a man. He is shown first in a close-up, indicating that he is important. He speaks first and is therefore leading the dialogue. The man and woman are never in the same frame. Over-shoulder angles and close-ups are used to show that both characters are of equal importance despite how it may seem to the characters, and also to separate them and therefore show the segregation between men and women. Mirren looks down to the floor when the man is talking sternly to her, this shows that she is less powerful than him. She is dressed slightly more informally in white, there the men are all in black suits, matching the dark, sensible decorating. This connotes that the men all belong in this work place where the woman does not.
After Helen Mirren has theft there is 1 wide-angle shot of the man at this desk with an empty chair opposite to show that he does not need her; her absence is welcome. Also as she leaves there is a close-up of the "Commander" sign on the man's door, undermining Mirren's authority and importance. However she is higher in the frame than the sign, therefore indicating that she is more important and associating her with a higher position.
Later this scene is paralleled by an interview between 2 men, the original man and a man superior to him. The 2 men are shown as equal, sitting across from each other in a wide-angle shot. Both men belong in this profession as both are wearing black suits and match the aforementioned environment. Many of the shots and angles used in this scene show both men in the same frame, signifying that they are equal, less close-ups are used for the same reason. Neither of the men ever mention Mirren's character's name, she is always referred to as "her". This undermines her as she is not considered a person, only a female. When "female murder squad officer" is mentioned there is a close-up of the first man to show his discomfort at this prospect.
When this prospect is mentioned to the other staff the office is panned slowly. This denotes the male dominance in this occupation as only men are present. Women are not accepted. In this scene all the men laugh at the thought of a woman being superior to them. Although this undermines Helen Mirren's character, the men have to be addressed like children which almost ridicules them.
Helen Mirren's character is presented as much more empathetic and human. There is a close-up of Mirren followed by a close-up of the Victim's photograph. Mirren's expression is slightly pained, this shows an emotional connection. This shot also compares the victim to her as they are both women, possibly showing Mirren as weak. However when talking to a woman, Mirren is more relaxed and in control.
There are more 2 shots when Mirren is talking to a woman, showing them as equal, just as with the 2 men in an interview. Mirren is, however higher in the frame, so she is more powerful than the other woman. This may be because she is thought to have a man's job, and in this scenario authority comes hand in hand with masculinity.
There are many tracking shots of Helen Mirren's character, indicating that she is important as the main character, who the TV drama follows. When leaving the Commander's office a second time, a tracking shot is used. As this angle the "Commander" sign is even lower compared to her than in the first scene. She is very sensible until she celebrates to herself while walking. Although this depicts her as less sensible and dignified than the men, where the men's desks are empty and under-used, hers is full and she is clearly immersed in her work, denoting she is more intelligent and therefore superior.
No non-diegetic sound is used in this extract. This brings an element of realism to Prime Suspect, denoting that the program was produced knowing that women are thought of as inferior, and raising this as a very real issue.
Men are presented as thinking themselves superior to women in this extract to the extent that Helen Mirren's character feels pressured to be like a man. A man who is superior to her describes her by stating, "She's got balls." This shows that, as a woman, she is expected to be masculine in order to do her job. This is also shown by Mirren's short hair-cut, presenting her as more masculine. Although Prime Suspect appears to support the view of equality between men and women, it is clear that Helen Mirren's character feels inferior to her male colleagues.
In the first scene Helen Mirren is being interviewed by a man. He is shown first in a close-up, indicating that he is important. He speaks first and is therefore leading the dialogue. The man and woman are never in the same frame. Over-shoulder angles and close-ups are used to show that both characters are of equal importance despite how it may seem to the characters, and also to separate them and therefore show the segregation between men and women. Mirren looks down to the floor when the man is talking sternly to her, this shows that she is less powerful than him. She is dressed slightly more informally in white, there the men are all in black suits, matching the dark, sensible decorating. This connotes that the men all belong in this work place where the woman does not.
After Helen Mirren has theft there is 1 wide-angle shot of the man at this desk with an empty chair opposite to show that he does not need her; her absence is welcome. Also as she leaves there is a close-up of the "Commander" sign on the man's door, undermining Mirren's authority and importance. However she is higher in the frame than the sign, therefore indicating that she is more important and associating her with a higher position.
Later this scene is paralleled by an interview between 2 men, the original man and a man superior to him. The 2 men are shown as equal, sitting across from each other in a wide-angle shot. Both men belong in this profession as both are wearing black suits and match the aforementioned environment. Many of the shots and angles used in this scene show both men in the same frame, signifying that they are equal, less close-ups are used for the same reason. Neither of the men ever mention Mirren's character's name, she is always referred to as "her". This undermines her as she is not considered a person, only a female. When "female murder squad officer" is mentioned there is a close-up of the first man to show his discomfort at this prospect.
When this prospect is mentioned to the other staff the office is panned slowly. This denotes the male dominance in this occupation as only men are present. Women are not accepted. In this scene all the men laugh at the thought of a woman being superior to them. Although this undermines Helen Mirren's character, the men have to be addressed like children which almost ridicules them.
Helen Mirren's character is presented as much more empathetic and human. There is a close-up of Mirren followed by a close-up of the Victim's photograph. Mirren's expression is slightly pained, this shows an emotional connection. This shot also compares the victim to her as they are both women, possibly showing Mirren as weak. However when talking to a woman, Mirren is more relaxed and in control.
There are more 2 shots when Mirren is talking to a woman, showing them as equal, just as with the 2 men in an interview. Mirren is, however higher in the frame, so she is more powerful than the other woman. This may be because she is thought to have a man's job, and in this scenario authority comes hand in hand with masculinity.
There are many tracking shots of Helen Mirren's character, indicating that she is important as the main character, who the TV drama follows. When leaving the Commander's office a second time, a tracking shot is used. As this angle the "Commander" sign is even lower compared to her than in the first scene. She is very sensible until she celebrates to herself while walking. Although this depicts her as less sensible and dignified than the men, where the men's desks are empty and under-used, hers is full and she is clearly immersed in her work, denoting she is more intelligent and therefore superior.
No non-diegetic sound is used in this extract. This brings an element of realism to Prime Suspect, denoting that the program was produced knowing that women are thought of as inferior, and raising this as a very real issue.
Production Values and Verisimilitude.
Production values
* Benefits of using cheapo equipment:
Makes film seem more realistic and therefore more shocking as paranormal unrealistic themes are juxtoposed with realistic filming techniques. (Hand-held camera, only diagetic sound, Etc.)
Verisimilitude
E.G. It is unlikely that a giant magic unicorn with breast implants would galavant into the courtroom in Judge Judy. Meaning said unicorn is not a common theme in Judge Judy, and as Judge Judy is a reality TV program, and most people do not consider unicorns realistic, this would be lacking in verisimilitude. Whereas if a giant magic unicorn with breast implants galavanted across a rainbow in the My Little Pony movie it would be much more verisimilitudinous. (Thought not completely, as Ponies are not unicorns.)
Sorry I think I got a little carried away with that example... But it turned out too beastly to replace.
- How much a film/TV program costs to produce.
- TV is cheaper, so therefore has a lower production value.
- TV's PV is spread over 9 or so hours of filminess.
- TV is usually filmed in studios whereas films are mostly filmed on location, so TV is cheaper. It costs more to hire/use a public/private location, not your own studio.
- Low PV films sometimes make more profit than high PV films.
- E.G. Blair Witch Project = Low PV, but is more successful than many high PV films.*
- PV is affected by:
- Actors,
- Locations,
- Effects,
- Expensive shots/angles/movement (E.g. Helicopter or crane shots),
- Equipment. (E.G. Paranormal Activity = Cheapo camera)
* Benefits of using cheapo equipment:
Makes film seem more realistic and therefore more shocking as paranormal unrealistic themes are juxtoposed with realistic filming techniques. (Hand-held camera, only diagetic sound, Etc.)
Verisimilitude
- The quality of realism in something.
- Qualities in-keeping with the style and/or themes in a film/TV?
E.G. It is unlikely that a giant magic unicorn with breast implants would galavant into the courtroom in Judge Judy. Meaning said unicorn is not a common theme in Judge Judy, and as Judge Judy is a reality TV program, and most people do not consider unicorns realistic, this would be lacking in verisimilitude. Whereas if a giant magic unicorn with breast implants galavanted across a rainbow in the My Little Pony movie it would be much more verisimilitudinous. (Thought not completely, as Ponies are not unicorns.)
Sorry I think I got a little carried away with that example... But it turned out too beastly to replace.
Tuesday, 27 September 2011
Monday, 26 September 2011
Shots, Angles and Movements
http://www.aber.ac.uk/media/Documents/short/gramtv.html
This is a rather nice website. :D
Look at the Dennis the menace pictures! Look at them! (No really they're acually useful... Seriously.. they have shots and movements and angles and such but... with a little stachue of Dennis the Menace!)
This is a rather nice website. :D
Look at the Dennis the menace pictures! Look at them! (No really they're acually useful... Seriously.. they have shots and movements and angles and such but... with a little stachue of Dennis the Menace!)
Tuesday, 20 September 2011
Anchorage presentation!
The colour green connotates to the environment, but also to elements of horror such as zombies. Envy is also represented by the colour green. As Shakespeare once said, envy is "the green eyed monster". It also signifies illness and Irishness.
The audience decodes these meanings by the use of sound, image and dialogue/text.
Doctor Who - How gender is being represented through mise-en-scene.
In Doctor Who women are presented as generally equal to men, however in the stills that I annotated the woman was presented as superior to the man. Although the woman has a frightened expression and is standing behind the railing as if she has been put on a shelf by the man, she is higher up in the picture than the man, suggesting that she is more important. She looks as if she is looking down on the events and seeing them from a god-like perspective. This is partly due to the woman's costume. Her hair is styled in a naturally fancy-looking way, and she is wearing little make-up, the style of her dress is almost Greek goddess-like, with a modern seductive twist. The red of her nails and dress connotes power and possibly evil. She looks out of place in the scene as she is the only colorful thing there, and she is not simplistically dressed. The man is dressed in a simple black and white tuxedo, which shows he is rich, however he looks untidy in comparison to the woman and their environment. He is holding a casual position, and looks relaxed. Where the woman is standing straight and powerfully, he is slouching informally and this ridicules him slightly. He looks as if he is comfortable in this environment, possibly because he thinks that he is in control, and is possessive towards the woman, however she holds a passive and strong position and is higher up, so may feel that she knows she is more important than the man.
Their surroundings are simplistically decorated with modern natural wood furnishings. However there are also high-tech scientific diagrams on the walls, and unnatural lighting. The wooden furnishings therefore seem pretentious. The ceiling is large and black, this looks scary and gives an underlying effect of tension and makes the scene seem more dangerous.
There is unnatural white lighting coming from the left onto the background and the man, the fact that it is not natural connotes that his power is superficial. However the lighting on the woman is coming from the right side, and is an unnatural pink/red light. This could show that she is a much-loved possession of the man, but also that she is seductive, powerful and/or evil.
Their surroundings are simplistically decorated with modern natural wood furnishings. However there are also high-tech scientific diagrams on the walls, and unnatural lighting. The wooden furnishings therefore seem pretentious. The ceiling is large and black, this looks scary and gives an underlying effect of tension and makes the scene seem more dangerous.
There is unnatural white lighting coming from the left onto the background and the man, the fact that it is not natural connotes that his power is superficial. However the lighting on the woman is coming from the right side, and is an unnatural pink/red light. This could show that she is a much-loved possession of the man, but also that she is seductive, powerful and/or evil.
Three requiarments of preliminary tasks!
1. Match on action (Continuity editing)
This is how you make the different shots run together smoothly. If there is an action going on, to capture it using more than 1 shot you must use continuity editing. This is where you pick up the action in the new shot where you left it in the previous one.
E.G. A close-up of a door handle being turned is followed by a tracking shot of the person opening the door.
2. The 180* rule
When shooting a scene, you must not cross the 180* line. This is an imaginary line or boundry that stops you from filming anything outside a 180* scope. Apparently if you cross this line the film could become dissorientating for the audience.
3. Shot/reverse shot convention
This must be used at some point in your prelim task. It is when a shot is repeated, but on the opposite side that it was originally. It can be used in exchanges between characters.
E.G. Over the shoulder shot, or POV shot.
This is how you make the different shots run together smoothly. If there is an action going on, to capture it using more than 1 shot you must use continuity editing. This is where you pick up the action in the new shot where you left it in the previous one.
E.G. A close-up of a door handle being turned is followed by a tracking shot of the person opening the door.
2. The 180* rule
When shooting a scene, you must not cross the 180* line. This is an imaginary line or boundry that stops you from filming anything outside a 180* scope. Apparently if you cross this line the film could become dissorientating for the audience.
3. Shot/reverse shot convention
This must be used at some point in your prelim task. It is when a shot is repeated, but on the opposite side that it was originally. It can be used in exchanges between characters.
E.G. Over the shoulder shot, or POV shot.
Monday, 19 September 2011
Sunday, 18 September 2011
How do Camera Movements Reflect Ethnicity in "Spooks"?
The scene opens with a crane shot on the scene, however due to the lighting the ethnicity of the characters are initially ambiguous. In this crane shot, as a viewer you are already able to see that one man has power over two others, who are sitting down back to back. You can see that they are less powerful because of their height levels. All of the shots of the Asian man who has the power are low angle, and mostly close-ups or extreme close-ups. This is to make him seem taller and therefore more powerful, whereas the other two characters (a white woman and a black man) are shown from higher-angled shots and less close-ups. This is because they are less powerful. There is a crab-shot on the Asian man, this shows that you will want to watch him intently as he is dangerous. The camera movement mimics the point of view of the characters. The crab-shot is not used on the white or black characters, this signifies that they are not dangerous. Tilt shots are also used, only showing the Asian man, again to show the extent of his power.
The Asian man is shown as a danger, this supports the negative racial stereotype linked with people of this ethnicity, and because of that the focus is on him. Hand-held camera is also used throughout, this makes the situation seem more real as it is less manufactured. This presents the Asian man as a more real danger.
The black man and white woman are on the same level of power, shown by similar close-ups and lack of tilt-shots, however the Asian is the centre of focus and also more powerful. This presents the idea of racial separation. The Asian man is separated from the other characters by appearing to be in a different class from them. This connotes separation of the Asian community from other ethnicities, via stereotyping. The Asian man is dangerous, this represents all Asian people as also dangerous, and separates them from the rest of society.
The Asian man is shown as a danger, this supports the negative racial stereotype linked with people of this ethnicity, and because of that the focus is on him. Hand-held camera is also used throughout, this makes the situation seem more real as it is less manufactured. This presents the Asian man as a more real danger.
The black man and white woman are on the same level of power, shown by similar close-ups and lack of tilt-shots, however the Asian is the centre of focus and also more powerful. This presents the idea of racial separation. The Asian man is separated from the other characters by appearing to be in a different class from them. This connotes separation of the Asian community from other ethnicities, via stereotyping. The Asian man is dangerous, this represents all Asian people as also dangerous, and separates them from the rest of society.
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