Skins is a TV series following the lives of a group of teen's and their outrageous lives. Each episode concentrates on one of the main characters, this particular one focusing on Cassie, an anorexic, drug addicted girl who likes to party, but is portrayed as an air head. This episode comes from series 1.
This extract starts with Cassie sitting on a bus, after a party, and finishes with her staring up at a baby mobile.
The first shot we are shown is a close up shot of Cassie, in her own little world with the rest of the mise-en scene taken up by the back seat row of a bus.
Throughout this bus journey, digetic sounds are heard such as the other children on the bus eating food, along with close-up's of the people's mouths. This is turned to irony as Cassie discovers a post-it note which is causing her discomfort, stuck to the back of her dress, reading "EAT!" in plain and simple writing. This sequence of events on the bus indicates the representation of Cassie's eating problem, and how these shots are focusing on the problem.
Through the first series of shots, on the bus, Cassie is portrayed as a sort of angel, in the way she presents herself, and how others act around her, and her general attitude to life whilst sitting there. She wears a white dress, and has long blonde hair draping down her back and over her shoulders.
On the bus, there is a subtle theme of children, as there are many close-up's and medium shot's of school children eating, and the small toddler extending a hand with a biscuit to Cassie, al exaggerating the theme of Cassie's anorexia. While Cassie is sitting on the bus, the camera is positioned in front of her face, so her features are clearly viewable. After Cassie finds the post-it note, reading "EAT!", she carefully sticks it to the bus window next to her, which attracts the attention to a toddler, who must be old enough to read, as he/she responds to the post-it by extending an arm, with a biscuit in the hand, towards Cassie, which is shot against the window of the bus. The window is made to look lighter, as if they are riding a bus through clouds or heaven, which also gives another hint of how angelic Cassie is in her setting.
The scene then changes to Cassie walking into her house, which is middle-class, however has a V.W camper van parked outside, a type of vehicle that middle-age hippies used to own, hinting a few things about her parents personalities.
When Cassie enters her house and goes into her kitchen, we immediately see her parents who are also wearing mainly/all white, and who are fondling each other passionately. At this point we see a zoomed in close-up of Cassie's facial expression, a gloomy gormless look, as if to say she was used to but but still felt surprised or uncomfortable. On the wall there is quite a large painting of Cassie's mother, who is naked and attached to a baby. This is shown over Cassie feeding her baby sister. As her parents try to make excuses to go upstairs to carry on their sexual playing, Cassie volunteered to feed and change her baby sibling. We gain a sense of Cassie's relationship with her parents being quite distant, and not as close as it should be regarding Cassie's situation, as when her father asks her about if she's eaten, he hear's her answer, which is an obvious lie about Michelle's breakfast, but immediately runs upstairs for sex.
Cassie's mother is not seen as stereotypical at all, and her dressed in white (aswell as the rest of the family, showing their angelic feeling and baby-like features of their personalities). It also displays another aspect of their "hippy" past, because their clothes are baggy and clean white. This contrasts with the mise-en-scene behind them, of a clean middle-class house, but fits in well with the camper van. The parents seem to be stuck between the two worlds.
Cassie's loose relationship with her family hints toward a reason of her anorexia, something that she can control and maintain in her life, as the rest seems quite unstable.
The whole series of events in the kitchen makes us sympathize Cassie and her home situation, along with her illness. This is enhanced when we see Cassie take on the role of her mother, feeding the baby, and then proceeding to change the baby.
The baby's bedroom's mise-en-scene is quite stereotypical, and nothing is out of the ordinary, it is a typical baby's room. The walls are covered in brightly coloured wallpaper, and the room has a fair few baby toy's in, on the floor and on the desks. There is a pleasant cot with a baby mobile hanging over it, with colourful shapes at the end of its strings.
There are a few close-up's of Cassie holding, cuddling & comforting the baby, but also showing how Cassie is childlike herself.
As Cassie is sitting by the baby's cot, fingering a pill, she receives a text message, that reads "EAT!", she raises herself slightly from her chair, looking worried, and stares out the window. This shows that she is quite worried about people's opinions of her eating disorder. However, it also shows that she covers this concern with her excessive drug use, as she swallows the pill as some non-digetic baby chime music comes in, partially masking the noise of her paren'ts having sex. The music could be seen as comforting to her, taking her to her childhood, but also a representation of how the drugs affect her. The final shot shows Cassie's veiw, staring at the baby mobile above, as if she's a baby in the cot herself. However by the end of the shot the mobile goes blurry, another representation of how the drugs are setting in, but also seeming as if she's about to go to sleep.
Thursday 22 January 2009
Film Classificaion (Activity 3.3; p142)
Have you watched films classified as 18 when you were below this age?
Yes, but never in the cinema, mainly because in the cinema its always gruesome or true horror films, which i never enjoy. Although at home when i was younger i watched 15's and nowadays i watch 18's, but i don't really think twice about it. Most people don't. Classification never seems to be a problem at home as you pick the film you think you'd enjoy watching, and no matter what classification it is, you know your own limits, so are able to watch whats suited to you, even if its not what the classification agrees with.
Does classification work for home viewing (DVD, TV broadcast, online, YouTube)?
Not always, but sometimes. On the internet especially, watching over your age classification's is easy. Usually a screen comes up, asking if you are 18 and above, which you can obviously lie about, however on youtube you need to sign in before you can watch something that a user has posted and classified, although that too is easy to get roundby creating a fake account with a different birth year. Watching films on the TV varies, as usually 15's and 18's are shown later on in the evening, when people who are younger than that have gone to bed, and sometimes on sky, it asks for the billpayers password (i.e your parents) who would be over 18, as a sort of proof of your age. It does this on Sky +, if you record a movie with a classification you must enter the password before you can veiw the film. Although with DVD's its mainly up to you or your parents, as your parents don't really mind what you watch (film-wise) as its just a film, and you yourself know your limits and what you'd like to see, and what you know you don't want to see. So classification doesn't really work beneficially in the home, however a different kind of classification, a personal one comes in, as you give the films your own classification on if you can watch them. For example, my 14 year old step-sister is constantly watching 18 horror movies such as Candyman, and has been since she was 13, and is never emotionally affected by them in a bad way.
Can parents/guardians/supervising adults be trusted to monitor what children/youths are viewing? Should they have this responsibility?
I think for younger children, who haven't become teenagers yet, parents can usually be trusted to monitor their film choices at home, and they should take on the responsibility of what they are watching, and make sure its a suitable film for them, even if its a higher certificate than their age. I remember when i was young, my parents didn't let me watch anything classified older than my age, but nowadays when teenagers have grown up, we pick our own choices, and know what we want. At our sort of age (GCSE and above), parents dont need to be trusted to monitor what films we watch, and shouldnt really take on that sort of responsibilty, as we know ourselves what we should and shouldn't watch, and are sensible/mature enough to know best.
Yes, but never in the cinema, mainly because in the cinema its always gruesome or true horror films, which i never enjoy. Although at home when i was younger i watched 15's and nowadays i watch 18's, but i don't really think twice about it. Most people don't. Classification never seems to be a problem at home as you pick the film you think you'd enjoy watching, and no matter what classification it is, you know your own limits, so are able to watch whats suited to you, even if its not what the classification agrees with.
Does classification work for home viewing (DVD, TV broadcast, online, YouTube)?
Not always, but sometimes. On the internet especially, watching over your age classification's is easy. Usually a screen comes up, asking if you are 18 and above, which you can obviously lie about, however on youtube you need to sign in before you can watch something that a user has posted and classified, although that too is easy to get roundby creating a fake account with a different birth year. Watching films on the TV varies, as usually 15's and 18's are shown later on in the evening, when people who are younger than that have gone to bed, and sometimes on sky, it asks for the billpayers password (i.e your parents) who would be over 18, as a sort of proof of your age. It does this on Sky +, if you record a movie with a classification you must enter the password before you can veiw the film. Although with DVD's its mainly up to you or your parents, as your parents don't really mind what you watch (film-wise) as its just a film, and you yourself know your limits and what you'd like to see, and what you know you don't want to see. So classification doesn't really work beneficially in the home, however a different kind of classification, a personal one comes in, as you give the films your own classification on if you can watch them. For example, my 14 year old step-sister is constantly watching 18 horror movies such as Candyman, and has been since she was 13, and is never emotionally affected by them in a bad way.
Can parents/guardians/supervising adults be trusted to monitor what children/youths are viewing? Should they have this responsibility?
I think for younger children, who haven't become teenagers yet, parents can usually be trusted to monitor their film choices at home, and they should take on the responsibility of what they are watching, and make sure its a suitable film for them, even if its a higher certificate than their age. I remember when i was young, my parents didn't let me watch anything classified older than my age, but nowadays when teenagers have grown up, we pick our own choices, and know what we want. At our sort of age (GCSE and above), parents dont need to be trusted to monitor what films we watch, and shouldnt really take on that sort of responsibilty, as we know ourselves what we should and shouldn't watch, and are sensible/mature enough to know best.
Tuesday 20 January 2009
Continuity Task - Storyboards
Shot 1: Shot just outside of the room, where Ben comes into shot. He opens the door and enters the room.Shot 2: Shot from inside the room, pans around as Ben walks around towards and past the camera, to the desk where Dr. Achmed is sitting.
Shot 3: Over the shoulder shot where we see Ben beginning to explain his problems to Dr. Achmed.
Shot 4: Shot reverse shot- to Dr. Achmed- over the shoulder shot.
Shot 5: When Dr. Achmed doesn't take Ben seriously, the camera zooms every so slightly towards Ben's back and then stays still whilst watching Ben storm angrily out of room.
Continuity Task - Film.
Roxanna Barry - 5034
Caroline Gooch - 5082
Jakob Montagu-Shaw - 1234546789
In our film we mainly used simple camera techniques. We used mid shots and long shots, with over the shouldershots with the conversation - math on action. We also had to obey the 180 degree rule to make the scene look more real, and make it easier to veiw from the audience.
The over the shoulder shots made the conversation flow more, and the swaps between shoulder's made it more interesting for the audience. 2 shots from the camera were following ones, as the camera follows a character to and from a seated position at the desk. The yellow line on our story boards demonstrates our use of the 180 degree rule, with an imaginary line across our scene, also showing the camera positions. The line would carry on outside of the roomto near the door, allowing the first shot to be taken at its angle and then continued from inside. We used digital cameras, non-linear editing software (Adobe Premiere), YouTube and our blogs. For the majority of our group the editing, filming and uploading to YouTube was a first, making the task more chalenging, but allowing practice for other tasks ahead.
I think our final product was rather good, as we involved all the points the brief included and people rather liked it. We received two comments on YouTube: "well filmed" and "this is amazing" with 29 veiws within 2 weeks. :)
Continuity Task - Script
BEN opens the door, the shot is from behind.
He walks through towards the camera, and over to a desk where DR. ACHMED is sitting. He sits down.
Over DR. ACHMED’s shoulder shot, viewing BEN as he starts to talk.
BEN: I need your help. It’s my fish.
DR. ACHMED: What’s wrong with it?
BEN: Well I’ve had him for 5 years now, and I’ve grown really attached to him, but he’s ill. I think he is going to die.
Over BEN’s shoulder shot, viewing DR. ACHMED as he suggests a remedy.
DR. ACHMED: I think I can help you with this. We’re making a type of plastic surgery for fish, which allows them to have a fake plastic fin put on.
It returns back to an over the shoulder shot, viewing BEN, as he ponders the idea of a plastic fin.
BEN: A fake plastic fin? It will probably be able to swim a bit easier, and it will probably be able to eat a lot more.
DR. ACHMED: But it may get bullied by the bigger fish.
Returns to over BEN’s shoulder again as DR. ACHMED doesn’t take Ben seriously.
DR. ACHMED: The only problem is, when this fish gets this plastic fin…
DR. ACHMED starts laughing.
BEN: Are you laughing at me? At my fish? Because he’ll get a plastic fin? He might die! He was my best friend for five f**king years!
BEN angrily stands up and shoves papers off DR. ACHMED’s desk.
The camera follows BEN as he starts to walk out, and as he leaves the room, DR. ACHMED Speaks:
DR. ACHMED: I’m sorry!
BEN slams the door shut, after turning round and yelling:
BEN: F**k you!
BEN Exits.
He walks through towards the camera, and over to a desk where DR. ACHMED is sitting. He sits down.
Over DR. ACHMED’s shoulder shot, viewing BEN as he starts to talk.
BEN: I need your help. It’s my fish.
DR. ACHMED: What’s wrong with it?
BEN: Well I’ve had him for 5 years now, and I’ve grown really attached to him, but he’s ill. I think he is going to die.
Over BEN’s shoulder shot, viewing DR. ACHMED as he suggests a remedy.
DR. ACHMED: I think I can help you with this. We’re making a type of plastic surgery for fish, which allows them to have a fake plastic fin put on.
It returns back to an over the shoulder shot, viewing BEN, as he ponders the idea of a plastic fin.
BEN: A fake plastic fin? It will probably be able to swim a bit easier, and it will probably be able to eat a lot more.
DR. ACHMED: But it may get bullied by the bigger fish.
Returns to over BEN’s shoulder again as DR. ACHMED doesn’t take Ben seriously.
DR. ACHMED: The only problem is, when this fish gets this plastic fin…
DR. ACHMED starts laughing.
BEN: Are you laughing at me? At my fish? Because he’ll get a plastic fin? He might die! He was my best friend for five f**king years!
BEN angrily stands up and shoves papers off DR. ACHMED’s desk.
The camera follows BEN as he starts to walk out, and as he leaves the room, DR. ACHMED Speaks:
DR. ACHMED: I’m sorry!
BEN slams the door shut, after turning round and yelling:
BEN: F**k you!
BEN Exits.
Monday 19 January 2009
No Country For Old Men - Coen Brothers
No Country for Old Men was written and directed by the Coen brothers, and based on the novel by Cormac McCarthy. Its a crime/thriller drama, based in western america. The film involves alot of violence, death, drugs and money.
The narrative is quite simple and straight forward, a chase between a psychopath and a sheriff (who is holding $2,000,000 and a stash of heroin). The psychopath will stop at nothing to get to the sheriff and claim his money and drug prize, and doesn't hesitate to kill anyone who even remotely gets in his way.
The film is filled with manby different shot types, and thriller signifiers. E.g: the mise-en-scene for the larger part of the film is filled with open spaces, mainly desert land with intense scenery. The rule of thirds is put into action in one particular spectacular shot when the sheriff looks through binoculars at a dead man's shoe next to a tree, which casts long dark shadows (which is an intense thriler signifier).
The film has many grusome scenes, as we witness many wounded/dead men, and a fair few murders. The pace of the film overall is slow, not rushed, making it more intense to watch, because the action doesnt rush through, it takes you through each murder and scene slowly. I think this gives it more of a sinister feel, as we see everything in detail.
In many scenes, the fact that there is no non-digetic or digetic sounds, so its deathly quiet, creates more sinister feelings, and mystery and keeps the audience on the edges of their seats, as this mainly happens before main or shocking parts of the film.
The film won 4 Oscars, and 90 other wins, with only 36 unsuccessful nominations, so overall was a very sucessful film.
The narrative is quite simple and straight forward, a chase between a psychopath and a sheriff (who is holding $2,000,000 and a stash of heroin). The psychopath will stop at nothing to get to the sheriff and claim his money and drug prize, and doesn't hesitate to kill anyone who even remotely gets in his way.
The film is filled with manby different shot types, and thriller signifiers. E.g: the mise-en-scene for the larger part of the film is filled with open spaces, mainly desert land with intense scenery. The rule of thirds is put into action in one particular spectacular shot when the sheriff looks through binoculars at a dead man's shoe next to a tree, which casts long dark shadows (which is an intense thriler signifier).
The film has many grusome scenes, as we witness many wounded/dead men, and a fair few murders. The pace of the film overall is slow, not rushed, making it more intense to watch, because the action doesnt rush through, it takes you through each murder and scene slowly. I think this gives it more of a sinister feel, as we see everything in detail.
In many scenes, the fact that there is no non-digetic or digetic sounds, so its deathly quiet, creates more sinister feelings, and mystery and keeps the audience on the edges of their seats, as this mainly happens before main or shocking parts of the film.
The film won 4 Oscars, and 90 other wins, with only 36 unsuccessful nominations, so overall was a very sucessful film.
Method 5 - Warp Films
Warp films was set up in 1999, with funding from NESTA. The company is based in Sheffield and has 3 full-time staff. Warp Films is an independent film company which aims to mirror the methods of its partner music label “Warp Records”. The company aims to keep the creative process at the core of the film-making approach, and to create fresh and innovative short and feature length films, to be viewed by a wide audience. They develop existing talent as well as discovering new and exciting filmmakers/directors. The company has won numerous awards (including 3 BAFTA’s) in the last 5 years.
According to Rob Young's book about Warp they are currently developing their first feature documentary production, a film about disinformation directed by John Lundberg and written by Mark Pilkington.In April 2008, Australian film distributor Madman Entertainment announced "a collaboration" with Warp Films. Warp and Madman plan to make "at least 2 films together over the next 3 years."
“My wrongs 8245-8249 and 117” by Chris Morris was one of the first films produced by Warp Films and it won the Best Short Film award at the BAFTA Awards 2003, and more than one million viewers watched it's television premiere on Channel 4. Warp Films sold 22,000 DVDs of "My Wrongs" and was the first DVD single in the UK market.
Warp Films has also worked closely with the Arctic Monkeys, helping produce 2 music videos, one of which "Scummy Man" starring Stephen Graham, which won best music video at the NME awards.
Another popular film produced by Warp Films is Shane Meadow’s “This Is England” which won 7 awards, including a BAFTA. They also produced another film by Meadows, called “Dead Man’s Shoes” which won 4 awards, which included the Empire Award and the Evening Standard British Film Award.
Since 2002, Warp Films have released 6 films;
My Wrongs 8245-8249 and 117, directed by Chris Morris (2003)
Dead Man’s Shoes, directed by Shane Meadows (2004)
Rubber Johnny, directed by Chris Cunningham (2005)
Scummy Man (Arctic Moneys short film/music video)
This Is England, directed by Shane Meadows (2006)
Dog Altogether, directed by Paddy Considine (2007)
Warp films also funded “The Englishman” (2007 funding) directed by Ian Seller, released in 2008.
Warp Films film-ography is mainly seen as a Production Company, although they are also distributors and a “Miscellaneous Company”.
Christ Cunningham is one of the most influential filmmakers of the last decade, an has been at the forefront of innovation and inspiration for technological boundary-breaking world wide, even though so far he has only made a handful of music videos and short films. Cunningham and Warp Records began a relationship in 1995 with his debut promo "Second Bad Vibel" for Autechre. Cunningham has since directed a score of mind-bending videos for the likes of Squarepusher, Bjork, Madonna, Portishead and Aphex Twin.
Both Aphex videos have been showered with approval, but were deemed too dark for daytime MTV. However, his sensual, milky robot promo with Bjork won him the best breakthrough video MTV award and a Grammy nomination, as well as 4 silvers and the first ever Gold Award for a music video at the D&AD Awards.
Cunningham’s film making successes followed on from an accomplished career in feature films. He learnt his craft as an FX sculptor, designer and engineer on numerous feature films, which included working with the likes of David Fincher, Clive Barker and Stanley Kubrick.
In 2000, Cunningham created a video art installation “flex” for the Royal Academy of Art’s Apocalypse exhibition. His other two short films with Warp Films, “Rubber Johnny” and “Spectral Musicians” were released on DVD in 2005.
Cunningham (with anticipation from his fans) is finally turning his attention to feature films and has developed/is developing a feature length script with Warp Films.
Christopher Cunningham created a music video in 1999 called "Africa Shox" which i feel portays America in a bad way, as it demonstrates the unhumane way in which the American's treated Black African/Americans. The main character in the music video is a Black African/American, and seems lost in a big city in the USA. At one point in the video, when the main character experiences his first "breakage" - which is when half of his forearm is shattered off by a person walking past, as if he was made of glass. It also shows a middle-aged rich looking white man reading a newspaper, acknowledging but completely ignoring the event of the "shattering".
The music video has certain resemblences to Shane Meadows' film "This Is England", such as the theme of racism, and how the white people act as if they are better at life than non-whites. "This Is England portrays a real image of what England used to be like, and shows the lower class racist side of British citizens living their life. "Africa Shox" is a more modern-set making, but still shows the harsh reality of how Black African/American's are treated by rich and upper-class white's. However, even though there are some similarities of the racism theme, and outlining how Black African/American's were so badly treated, there are also differences about the racism. For example, in "This Is England", we see that it is pure racism and hate that drives the people to do what they do, because the victims of the abuse and racism are the same social class as them. However, in "Africa Shox", the Black African/American also appears to be homeless, jobless and helpless, meaning that the American's could not only be recoiling away from the main character because of his colour, but also because of his class and "rank" in society.
Sunday 18 January 2009
Shot Types
The Rule Of 3rd's:
The Rule of Thirds is a compositional rule of thumb in photography. The rule states that the image can be divided into 9 parts by two equally spaced lines horizontally and vertical. The four points formed by the intersections of the lines can be used to align features in the frame. Users of the technique claim that aligning a photograph with the points creates more tension, energy and interest in the photo than simply centering the feature would.
Panning Shot:
Panning is the horizontal movement or rotation of a camera, or the scanning of a subject horizontally on video or a display device. Panning a camera is a motion similar to that of someone shaking their head “no”.
Tracking Shot:
In media picture, a tracking shot (also known as a dolly shot or a trucking shot) is a segment in which the camera is mounted on a wheeled platform that is pushed on rails whilst filming or photographing. Tracking in on a stationary subject is used for emphasis, as is tracing out, and tracking beside a moving subject.
Tracking Shots can include smooth movements forward, backward, along the side of a subject, or on a curve. Trackers with hydraulic arms can also smoothly “boom” or “jib” the camera several feet on a vertical axis. Tracking shots, however, cannot include complex pivoting movements, aerial shots or crane shots.
Dolly Zoom Shot:
The dolly zoom is an unsettling in-camera special affect that appars to undermime normal visual perception in film. The effect is achieved by using a zoom lens to adjust the angle of veiw (aka field of view) while the camera moves towards or away from the subject in such a way as to keep the subject the same size in the frame throughout. In its classic form, the camera is pulled away from a subject whilst the lens zooms in, or vice versa. Thus, during the zoom, the subject stays the same, however the directly noticeable feature being in the background appears to change size relative to the subject.
The effect was first developed by Irmin Roberts, a Paramount second-unit cameraman, and was famously used by Alfred Hitchcock in his film Vertigo.
Pedastel Shot:
A pedastal shot means moving the camera vertically with respect to the subject. This is often referred to as “pedding” the camera up or down.
The term comes from the camera support known as a pedastal. They provide a great deal of flexibility as well as very smooth movement, and have the ability to move the camera in any direction; left, right, up, down.
Tilt Shot:
This means that the camera is in the same position but tilts the angle of veiw up and down. It means that the camera is looking up or down at the subject in the frame, instead of being at the same level, as these are usually more dramatic than straight-angle shots. A downward tilt is usually used to observe a large area or oversee action, creating a kaleidoscope effect, making the subject seem less important. However an upward shot, creates an impression of superiority.
A crabbing shot is basically tracking or dollying, however it is a side-to-side movement at a consant distance from the action or subject. It basically mimicks how a crab would walk along the beach.
The Rule of Thirds is a compositional rule of thumb in photography. The rule states that the image can be divided into 9 parts by two equally spaced lines horizontally and vertical. The four points formed by the intersections of the lines can be used to align features in the frame. Users of the technique claim that aligning a photograph with the points creates more tension, energy and interest in the photo than simply centering the feature would.Panning Shot:
Panning is the horizontal movement or rotation of a camera, or the scanning of a subject horizontally on video or a display device. Panning a camera is a motion similar to that of someone shaking their head “no”.
Tracking Shot:
In media picture, a tracking shot (also known as a dolly shot or a trucking shot) is a segment in which the camera is mounted on a wheeled platform that is pushed on rails whilst filming or photographing. Tracking in on a stationary subject is used for emphasis, as is tracing out, and tracking beside a moving subject.
Tracking Shots can include smooth movements forward, backward, along the side of a subject, or on a curve. Trackers with hydraulic arms can also smoothly “boom” or “jib” the camera several feet on a vertical axis. Tracking shots, however, cannot include complex pivoting movements, aerial shots or crane shots.
Dolly Zoom Shot:
The dolly zoom is an unsettling in-camera special affect that appars to undermime normal visual perception in film. The effect is achieved by using a zoom lens to adjust the angle of veiw (aka field of view) while the camera moves towards or away from the subject in such a way as to keep the subject the same size in the frame throughout. In its classic form, the camera is pulled away from a subject whilst the lens zooms in, or vice versa. Thus, during the zoom, the subject stays the same, however the directly noticeable feature being in the background appears to change size relative to the subject.
The effect was first developed by Irmin Roberts, a Paramount second-unit cameraman, and was famously used by Alfred Hitchcock in his film Vertigo.
Pedastel Shot:
A pedastal shot means moving the camera vertically with respect to the subject. This is often referred to as “pedding” the camera up or down.
The term comes from the camera support known as a pedastal. They provide a great deal of flexibility as well as very smooth movement, and have the ability to move the camera in any direction; left, right, up, down.
Tilt Shot:
This means that the camera is in the same position but tilts the angle of veiw up and down. It means that the camera is looking up or down at the subject in the frame, instead of being at the same level, as these are usually more dramatic than straight-angle shots. A downward tilt is usually used to observe a large area or oversee action, creating a kaleidoscope effect, making the subject seem less important. However an upward shot, creates an impression of superiority.Crab-Movement Shot:
A crabbing shot is basically tracking or dollying, however it is a side-to-side movement at a consant distance from the action or subject. It basically mimicks how a crab would walk along the beach.Thriller Opening - Vertigo.
The film Vertigo was directed by Alfred Hitchcock in 1958.
Mise-en-scene:
The film opens with worried/scared eyes, glancing in different directions.
The first action we see is a police chasing a man across rooftops, with help, Good Vs Bad.
People we haven't been introduced to, we don't know who is the main character, creates Mystery.
The police-man dies within the first 5 minutes, confusion, (Good has lost?)
Lots of red colours in the mise-en-scene, connoting danger, passion and lust/love. (lipstick, walls, clothes).
Camera Angles/Shots:
Extreme close-up on all the main features of a person's face.
Then another extreme close-up on the top bar of a ladder, with hands gripping it.
Birds eye veiw, camera zoom emphasizes the height.
Close up on the police-man's face, to show his fear, gets closer.
Includes various types of shots: close, long and mid shots.
Sound:
Non-digetic tense music to start, repetitive, loud vs. quiet.
No digetic sound to start with.
Non-digetic orchester, spooky/threatening music but "nice".
Quick paced music, speeds up at the end of the intro, getting faster and faster.
Digetic sounds of gun shots at the start, and scrabling.
Non-digetic dark music at important times.
Editing:
Fading effects from shot to shot, and from scene to scene.
Quick paced editing to create more tension and quick movement in the chase.
Special Effects:
Spiral pattern from the eye to the screen with names and colour.
Face turns red with title "Vertigo" on the screen.
Spinning patterns in background, creating mystery. The spiral effect connotes mystery and danger, no end? getting lost?
Finger Prints.
Other Notes/Thriller Signifiers:
Flawed hero, main character has agriphobia, fear of heights.
Detective man, thriller signifier.
Long winding narrow roads.
Dreary settings.
Contrasting between the light and the shadows.
Wierd twists and links, zooming to show them.
Mise-en-scene:
The film opens with worried/scared eyes, glancing in different directions.
The first action we see is a police chasing a man across rooftops, with help, Good Vs Bad.
People we haven't been introduced to, we don't know who is the main character, creates Mystery.
The police-man dies within the first 5 minutes, confusion, (Good has lost?)
Lots of red colours in the mise-en-scene, connoting danger, passion and lust/love. (lipstick, walls, clothes).
Camera Angles/Shots:
Extreme close-up on all the main features of a person's face.
Then another extreme close-up on the top bar of a ladder, with hands gripping it.
Birds eye veiw, camera zoom emphasizes the height.
Close up on the police-man's face, to show his fear, gets closer.
Includes various types of shots: close, long and mid shots.
Sound:
Non-digetic tense music to start, repetitive, loud vs. quiet.
No digetic sound to start with.
Non-digetic orchester, spooky/threatening music but "nice".
Quick paced music, speeds up at the end of the intro, getting faster and faster.
Digetic sounds of gun shots at the start, and scrabling.
Non-digetic dark music at important times.
Editing:
Fading effects from shot to shot, and from scene to scene.
Quick paced editing to create more tension and quick movement in the chase.
Special Effects:
Spiral pattern from the eye to the screen with names and colour.
Face turns red with title "Vertigo" on the screen.
Spinning patterns in background, creating mystery. The spiral effect connotes mystery and danger, no end? getting lost?
Finger Prints.
Other Notes/Thriller Signifiers:
Flawed hero, main character has agriphobia, fear of heights.
Detective man, thriller signifier.
Long winding narrow roads.
Dreary settings.
Contrasting between the light and the shadows.
Wierd twists and links, zooming to show them.
Thriller Signifiers.
Plot and Narrative:
Mystery and intrigue - keep the audience guessing, draws them in.
A twisting and turning narrative - shock and surprise, makes the film more interesting.
Spiralling narrative - keeps the audience in awe, again, adds interest.
Narrated by a male protagonist? (First Person)
Chases & Pursuits - action and excitement.
Tone and Atmosphere:
Sinister or threatening atmosphere - keeps interest and excitement.
Sexual/Sleaze.
Claustrophobia - introduces fear and worry.
Mise en Scene:
Bleak settings.
Urban.
Rain lashed streets.
Shadows - dark spaces where we can't seem creating mystery.
Set in the night time - more darkness and more shadows, mystery and danger.
Slatted Blinds - introducing shadows again.
Slanting light, creating shadows - connoting mystery.
Staircases - long and winding, no end/fear/anxious.
Enclosed spaces - claustrophobia again, fear and worry.
Chiaroscuro lighting - originated with artwork, includes dark shadows contrasted with bright light.
Characters:
Femme Fatales - red lips, "sexy" clothing - but not revealing, usually "dangerous" and vulnerable.
Hard-boiled detectives - don't like to show emotions, spying and deception included.
Flawed heroes - E.g: Chinatown - acrophobia, other movies the hero could smoke/drink excessively.
Male protagonist - usually a detective, or socially alienated individual.
Women as sex objects.
Police - authority, police are meant to be good, good-cop/bad-cop could come in. Flawed or corrupted police-men?
Themes:
Corruption - fake identities/lies/good-cop gone bad.
Mystery - unknowing circumstances, guessing, intrigue!
Deceit - misleading, falsehood, half-truths and lies.
Sexuality - women using as a weapon.
Women's sexuality as dangerous and destructive - men fighting over a woman? woman using her sexuality to get her way? woman's sexuality destroying evidence or a case against a murder?
Moral ambiguity - who is right and wrong?
Cinematography:
Tilted camera angles - not straightforward, wonky, twisted narrative? suggestive.
Use of vanishing points - roads that vanish in the distance, whats over the horizon? is there more than what appears in the mise-en-scene? creates mystery.
High angle and low angle shots.
Mystery and intrigue - keep the audience guessing, draws them in.
A twisting and turning narrative - shock and surprise, makes the film more interesting.
Spiralling narrative - keeps the audience in awe, again, adds interest.
Narrated by a male protagonist? (First Person)
Chases & Pursuits - action and excitement.
Tone and Atmosphere:
Sinister or threatening atmosphere - keeps interest and excitement.
Sexual/Sleaze.
Claustrophobia - introduces fear and worry.
Mise en Scene:
Bleak settings.
Urban.
Rain lashed streets.
Shadows - dark spaces where we can't seem creating mystery.
Set in the night time - more darkness and more shadows, mystery and danger.
Slatted Blinds - introducing shadows again.
Slanting light, creating shadows - connoting mystery.
Staircases - long and winding, no end/fear/anxious.
Enclosed spaces - claustrophobia again, fear and worry.
Chiaroscuro lighting - originated with artwork, includes dark shadows contrasted with bright light.
Characters:
Femme Fatales - red lips, "sexy" clothing - but not revealing, usually "dangerous" and vulnerable.
Hard-boiled detectives - don't like to show emotions, spying and deception included.
Flawed heroes - E.g: Chinatown - acrophobia, other movies the hero could smoke/drink excessively.
Male protagonist - usually a detective, or socially alienated individual.
Women as sex objects.
Police - authority, police are meant to be good, good-cop/bad-cop could come in. Flawed or corrupted police-men?
Themes:
Corruption - fake identities/lies/good-cop gone bad.
Mystery - unknowing circumstances, guessing, intrigue!
Deceit - misleading, falsehood, half-truths and lies.
Sexuality - women using as a weapon.
Women's sexuality as dangerous and destructive - men fighting over a woman? woman using her sexuality to get her way? woman's sexuality destroying evidence or a case against a murder?
Moral ambiguity - who is right and wrong?
Cinematography:
Tilted camera angles - not straightforward, wonky, twisted narrative? suggestive.
Use of vanishing points - roads that vanish in the distance, whats over the horizon? is there more than what appears in the mise-en-scene? creates mystery.
High angle and low angle shots.
Method 3 - Film Distribution
(shortened)
For this method, we had to look at the number of films, and the number of their screenings that were in 4 cinema's in norwich: Hollywood, Cinema City, Vue and Odeon. The research was done over a weekend (21st Nov to the 23rd Nov).
For this method, we had to look at the number of films, and the number of their screenings that were in 4 cinema's in norwich: Hollywood, Cinema City, Vue and Odeon. The research was done over a weekend (21st Nov to the 23rd Nov).
Films shown in each cinema:
a) Over the weekend of 21st Nov to 23rd Nov;
- Vue is showing 16 different films,
- Odeon is showing 16 different films,
- Cinema City is showing 10 different films,
- And Hollywood is showing 8 different films.
This proves that the multiplex cinema’s such as Odeon and Vue, show more films, and all the new releasers, and that the smaller cinema’s have a smaller selection of films.
b) 5 of the films at cinema Hollywood are shown also at both Vue and Odeon, however only 1 film at Cinema City is also shown at both Vue and Odeon. The 5 films are Quantum of Solace, Igor, High School Musical 3, Easy Virtue and Brideshed Revisited. Easy Virtue is the only film shown at all 4 cinema’s.
c) Over the weekend of 21st Nov to 23rd Nov;
- Vue had 170 screenings, of 16 different films. This says on average there were around 10(.625) screenings of each film.
- Odeon had 172 screenings, of 16 different films. This says on average there were about 10(.75) screenings of each film.
- Cinema City had 40 screenings, of 16 different films. This says on average there were 2(.5) screenings of each film.
- Hollywood had 35 screenings, of 16 different films. This says on average there were 2(.1875) screenings of each film.
This shows that each film is shown more than once, however some films are screened more than others.
d) Hollywood – 20 of the films were made in the USA or funded by the USA which is the majority of films shown and screening. The rest of the films mainly British, however there are a few from other countries.
e) Film Distribution in the UK – The results above show that the majority of films shown are either made or funded by America, and so the film distribution is dominated by America. This isn’t a good distribution as most people are therefore mainly watching American influenced films, and are only really seeing America’s view on politics, relationships, or life in general.
Also, American films are usually action or comedy films, and are aimed at teenage boys, and the stories come from comic books or cartoons.
American films influence and seduce audiences, but it doesn’t open their eyes to other country’s films.
Audience Categories
Audiences for media related productes can be divided into 3 main categories:
- social types,
- psychological,
- and demographic audience.
Social Class is based on a persons ocupation, and is separated into groups A, B, C1, C3, C3, and D.
Group A (3%) are the top professionsla like MP's or top hospital consultants, directors, and members of top boardrooms.
Group B (13%) includes occupations like Hospital surgeons, head teachers, teachers, lawyers, and the like.
Group C1 (22%) are the "white collar" (suits) workers, often with a degree, like teaching assistants, nurses and retail shop managers.
Group C2 (31%) is the largest group, and are the mainstream focus for most media texts, these are employee's and workers who read tabloids etc.
Group C3 (19%) are the "unskilled" or "blue collar" (no suits) workers, and they often only just have enough money for luxury products, these include occupations such as shop assistants.
Group D (10.5%) are the unemployed people, or people who live off benefits, who don't usually have any spare money to spend on things they dont need but want.
Psychological (to come)
Demographic Audience's are based on your age, gender, race, occupation and social class. It looks at all the aspects to a person's life. (more to come)
- social types,
- psychological,
- and demographic audience.
Social Class is based on a persons ocupation, and is separated into groups A, B, C1, C3, C3, and D.
Group A (3%) are the top professionsla like MP's or top hospital consultants, directors, and members of top boardrooms.
Group B (13%) includes occupations like Hospital surgeons, head teachers, teachers, lawyers, and the like.
Group C1 (22%) are the "white collar" (suits) workers, often with a degree, like teaching assistants, nurses and retail shop managers.
Group C2 (31%) is the largest group, and are the mainstream focus for most media texts, these are employee's and workers who read tabloids etc.
Group C3 (19%) are the "unskilled" or "blue collar" (no suits) workers, and they often only just have enough money for luxury products, these include occupations such as shop assistants.
Group D (10.5%) are the unemployed people, or people who live off benefits, who don't usually have any spare money to spend on things they dont need but want.
Psychological (to come)
Demographic Audience's are based on your age, gender, race, occupation and social class. It looks at all the aspects to a person's life. (more to come)
Saturday 17 January 2009
Location Scouting - Thriller Film
The first picture is one of the kitchen. This is where "Simon" will break into the house, and where the mysterious man will find the open window, props on the floor, and proceed to get out his gun. This room was handy and practical as it had a fairly low window that was easy to open from the outside (when unproperly locked) making the break in scene easier to act, as ben could get up onto the windowsil.
The two shots below are of the street outside the house, where the gang mebers meet before Simon goes in, and where Jitmal calls Simon from. The street is quite busy, and in an urban setting, adding danger to the mise-en-scene, as the crime is being commited somewhere loud.
These outside shots of the house show the front door and the front drive, which will be seen as Simon goes round the back of the house, and as the old man comes home. The door is quite useful as its window-paned and quite old fasioned, and set into the house, giving the house a more prominent stage in the mise-en-scene, making it look bigger.
The 3 pictures below show the hallway and staircase next to the front door of the house. The staircase has a good banister as it gives he sense of being in prison because of the rails. There's an interesting veiw when the stairs are shot from the top, like a birds eye veiw but also high angled. This could be used for quite a few different shots to create different atmospheres. The hallway is to be used quite a bit in our film, after Simon breaks in, and when the guy returns home then proceeds upstairs. There were a few problems with the area such as items on the stairs or the fish mobile hanging from the ceiling. We removed these items, but decided to keep the family pictures, creating a contrast between what the old man is and what he seems to be like from family belongings.
The two shots below are of the street outside the house, where the gang mebers meet before Simon goes in, and where Jitmal calls Simon from. The street is quite busy, and in an urban setting, adding danger to the mise-en-scene, as the crime is being commited somewhere loud.
These outside shots of the house show the front door and the front drive, which will be seen as Simon goes round the back of the house, and as the old man comes home. The door is quite useful as its window-paned and quite old fasioned, and set into the house, giving the house a more prominent stage in the mise-en-scene, making it look bigger.
The 2 pictures below are some images of the inside of the house we are filming in for our Thriller. They are both the mysterious-man's bedroom. The first picture shows the man's bed, under which Simon will hide when the man returns home. The window in this picture had good placement, as out of the window is the main street on which the gang and Jitmal should be. In the filming in this room the curtains will be drawn, hiding any possible light. The second picture shows a chest of drawers and a desk-table. The furniature is quite low-key and minimalistic, which add's to the characters mystery. Also, around the room in the corners there are some unorganized items or clothing and such, that suggests this could be a man's house.
Tuesday 6 January 2009
Method 4 - This is England : Case Study
This movie has a certificate of 18 in the UK, although the Camden, Westminster and Bristol council’s decided to go against the BBFC (British Board of Film Classification), enabling more teenagers to see it. The certificate was decided as 18 by the BBFC because the movie contains quite extreme violence, use of drugs, some sex references and prejudices such as racism.
“This is England” was filmed in 3 different locations. The beginning editing credits was set in Cleethorpes which is in North Lincolnshire. Most of the rest of the film was filmed in Nottingham in Nottinghamshire; however the abandoned houses scene was filmed in RAF Newton in Nottinghamshire.
The was funded by a few companies, consisting of Big Arty Productions, EM Media, Film 4, Optimum Releasing, Screen Yorkshire, UK Film Council and Warp Films, putting them into the credits, and helping the process of the film.
The film had main distributors in 6 different countries: IFC Films, IFC First Take, NetFlix and Red Envelope Entertainment (USA); Optimum Releasing (UK); Iae, King Record Co. (Japan); Madman Entertainment (Australia); NonStop Entertainment (Sweden); and Sandrew Metronome Distribution (Finland). These companies supported and helped advertise the film in their countries.
An External USA Reviewer from the New York Sun said that “Shane Meadows’ coming-of-age film, set in Thatcher’s England, reveals the British subculture’s far more innocent and rich history” however, another (again from the New York Sun) said that the film is “sometimes exhilarating, sometimes wrenching and, at its best, profoundly moving, and also manages to find room to ponder questions of friendship, fatherhood, group loyalty, masculinity and national identity. That’s not bad for 98 minutes”. I think that these two quotes show an overall balance of how America found the film – Some of them might have not thought it as good as others, but the ones who enjoyed it found it “moving” and “wrenching”. An External British Reviewer from the BBC said that the film is “hard to describe, without making it appear a great deal less interesting than it actually is” and “the film is fizzing with energy and humour, powered by brilliantly engaging performances”. Although another British Reviewer, from the Daily Mirror, said “it’s a small, intimate movie that doesn’t really go anywhere, but shows off Meadow’ unique vision of England”. This shows the wide spread also across the UK, on how people interpret the film, as some find it slow or without direction, but others see it as energy filled and useful.
http://www.imdb.com/ is a website that allows user’s to post comments about the film’s, about what they did or didn’t like. On the first page of comments (displaying 14) there was only one negative point about the film, but the positive points included such headings as “You must go see this film”, “This is…the best British film for a long time”, “the very best British cinema has to offer” and “Best film of the Berlin Film Festival 2007”. This shows the movie is highly popular, and many people like it.
The website also shows user ratings, showing us what sort of people liked the film, such as male/female/over 18/under 18/or any other age description. The graph below shows that out of the male/female category, more females gave it a higher rating than males, although they weren’t that far behind. It also shows that the demographic that voted the most times with a higher score than the other classifications, was female’s under 18, showing that the film affected under 18 female’s more than older females/males or younger males.
This Is England is classified as an English film. The film was set in Britain, the locations in which the film was shot were all in Britain, the majority of the cast and crew were British, the music was from British bands and the dialogue was typically British with words such as “twat”.
The director, Shane Meadows, created/directed a fair few more films. Some of which had similar concepts as This Is England, for example A room for Romeo Brass is a film, directed by Shane Meadows, and also tackles tests of friendships, and the main boy character is the same age as Shaun in This Is England. It also contains romance, which Shaun experiences with Smell. Another film that has similar aspects as This Is England, is White Man’s Burden, as it follows a story of a white man and a black man, when one of them oversteps the barrier that separates race and class (as in This Is England, a lot of racism is displayed, and hate towards the upper class of politicians) that becomes a drastic incident. Each film concentrates on different aspects, although This Is England manages to include most of them.
This Is England was a very popular and successful film. It won 8 awards: BAFTA Film Award for Best British Film, British Independent Film Award for Best British Independent Film (and most promising Newcomer On Screen – which went to Thomas Turgoose), Young Audience Award, UK Film Talent Award, Best European Film, Young European Jury Award, and the Best Director Award. Most of these were received by Shane Meadows, although the BAFTA and UK Film Talent were received by Mark Herbert. The film was also nominated for another 7 awards, these included: BAFTA Film Award for Best Screenplay (Original), Golden Kinnaree Award for Best Film, British Independent Film Award (for Best Director/Screenplay/Supporting Actor-ress/Technical Achievement), The Empire Award (for Best British Film and Newcomer), The Grand Prix Award, The Golden Trailer (for Best Independent Poster – quad) and The ALFS Award (for British Breakthrough (acting – Thomas Turgoose), Director of the Year, Film of the Year).
The director, Shane Meadows, also wrote and directed 8 other films, which were: The Stairwell (2005), Northern Soul (2004), Dead Man’s Shoes (2004), Once Upon a Time in the Midlands (2002), A Room for Romeo Brass (1999), 24 7 : Twenty Four Seven (1997), Small Time (1996) and Where’s the Money, Ronnie? (1996). He appeared in 5 of these movies mainly as a small character, although in Where’s the Money, Ronnie?, he played Ronnie.
“This is England” was filmed in 3 different locations. The beginning editing credits was set in Cleethorpes which is in North Lincolnshire. Most of the rest of the film was filmed in Nottingham in Nottinghamshire; however the abandoned houses scene was filmed in RAF Newton in Nottinghamshire.
The was funded by a few companies, consisting of Big Arty Productions, EM Media, Film 4, Optimum Releasing, Screen Yorkshire, UK Film Council and Warp Films, putting them into the credits, and helping the process of the film.
The film had main distributors in 6 different countries: IFC Films, IFC First Take, NetFlix and Red Envelope Entertainment (USA); Optimum Releasing (UK); Iae, King Record Co. (Japan); Madman Entertainment (Australia); NonStop Entertainment (Sweden); and Sandrew Metronome Distribution (Finland). These companies supported and helped advertise the film in their countries.
An External USA Reviewer from the New York Sun said that “Shane Meadows’ coming-of-age film, set in Thatcher’s England, reveals the British subculture’s far more innocent and rich history” however, another (again from the New York Sun) said that the film is “sometimes exhilarating, sometimes wrenching and, at its best, profoundly moving, and also manages to find room to ponder questions of friendship, fatherhood, group loyalty, masculinity and national identity. That’s not bad for 98 minutes”. I think that these two quotes show an overall balance of how America found the film – Some of them might have not thought it as good as others, but the ones who enjoyed it found it “moving” and “wrenching”. An External British Reviewer from the BBC said that the film is “hard to describe, without making it appear a great deal less interesting than it actually is” and “the film is fizzing with energy and humour, powered by brilliantly engaging performances”. Although another British Reviewer, from the Daily Mirror, said “it’s a small, intimate movie that doesn’t really go anywhere, but shows off Meadow’ unique vision of England”. This shows the wide spread also across the UK, on how people interpret the film, as some find it slow or without direction, but others see it as energy filled and useful.
http://www.imdb.com/ is a website that allows user’s to post comments about the film’s, about what they did or didn’t like. On the first page of comments (displaying 14) there was only one negative point about the film, but the positive points included such headings as “You must go see this film”, “This is…the best British film for a long time”, “the very best British cinema has to offer” and “Best film of the Berlin Film Festival 2007”. This shows the movie is highly popular, and many people like it.
The website also shows user ratings, showing us what sort of people liked the film, such as male/female/over 18/under 18/or any other age description. The graph below shows that out of the male/female category, more females gave it a higher rating than males, although they weren’t that far behind. It also shows that the demographic that voted the most times with a higher score than the other classifications, was female’s under 18, showing that the film affected under 18 female’s more than older females/males or younger males.
This Is England is classified as an English film. The film was set in Britain, the locations in which the film was shot were all in Britain, the majority of the cast and crew were British, the music was from British bands and the dialogue was typically British with words such as “twat”.
The director, Shane Meadows, created/directed a fair few more films. Some of which had similar concepts as This Is England, for example A room for Romeo Brass is a film, directed by Shane Meadows, and also tackles tests of friendships, and the main boy character is the same age as Shaun in This Is England. It also contains romance, which Shaun experiences with Smell. Another film that has similar aspects as This Is England, is White Man’s Burden, as it follows a story of a white man and a black man, when one of them oversteps the barrier that separates race and class (as in This Is England, a lot of racism is displayed, and hate towards the upper class of politicians) that becomes a drastic incident. Each film concentrates on different aspects, although This Is England manages to include most of them.
This Is England was a very popular and successful film. It won 8 awards: BAFTA Film Award for Best British Film, British Independent Film Award for Best British Independent Film (and most promising Newcomer On Screen – which went to Thomas Turgoose), Young Audience Award, UK Film Talent Award, Best European Film, Young European Jury Award, and the Best Director Award. Most of these were received by Shane Meadows, although the BAFTA and UK Film Talent were received by Mark Herbert. The film was also nominated for another 7 awards, these included: BAFTA Film Award for Best Screenplay (Original), Golden Kinnaree Award for Best Film, British Independent Film Award (for Best Director/Screenplay/Supporting Actor-ress/Technical Achievement), The Empire Award (for Best British Film and Newcomer), The Grand Prix Award, The Golden Trailer (for Best Independent Poster – quad) and The ALFS Award (for British Breakthrough (acting – Thomas Turgoose), Director of the Year, Film of the Year).
The director, Shane Meadows, also wrote and directed 8 other films, which were: The Stairwell (2005), Northern Soul (2004), Dead Man’s Shoes (2004), Once Upon a Time in the Midlands (2002), A Room for Romeo Brass (1999), 24 7 : Twenty Four Seven (1997), Small Time (1996) and Where’s the Money, Ronnie? (1996). He appeared in 5 of these movies mainly as a small character, although in Where’s the Money, Ronnie?, he played Ronnie.
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