Friday, 8 April 2011
Decisions and revisions made in editing
Revisions we made to our opening sequence were the inclusion of non diegetic sound in the form of tracks from garageband and copyright free music from youtube. We also cut a lot of unnecessary footage out so the pace increases and tension and suspense increases as the feedback from the showcase told us the audience felt some of the shots were too long which made the sequence drag on slightly
Evaluation Commentary
It was important to create a multimodal evaluation as opposed to the traditional essay form. As a group we chose to create our evaluation as a multimodal powerpoint with text, audio and video. We all had input in answering our questions which we filmed and then imported into the powerpoint so our filmed answers follow each evaluation question along with slides and images which we feel are relevant to our film and our question answers.
Oblivious - Final Version Commentary
We have uploaded the final complete version of our opening sequence, with better edits and sound onto Youtube, the group blog and our own individual blogs. The final opening sequence is much more effective as we took on board the feedback and comments from teacher and peers when we showcased our sequence and used it to improve the film.
Tuesday, 5 April 2011
Friday, 1 April 2011
Problems faced in Group work
I don't feel that we had many problems working as a group as we all get on well and communicate effectively, at the beginning of each lesson we all discuss what we're going to do and what needs to be done. The main problem, for me, was timetabling. We all have different timetables so outside of our media lessons, it's not possible for us to all meet up as a group during free periods and work on the film. To counteract this, we sometimes stayed behind after school or at lunch to work on the project.
Initially there were also slight problems with managing the work, if a member of the group wasn't in but had important work that we needed then we all had to find something else to do so this was inconvenient at times.
Initially there were also slight problems with managing the work, if a member of the group wasn't in but had important work that we needed then we all had to find something else to do so this was inconvenient at times.
Film Opening Screenings - Audience Feedback
We recently showcased a rough cut of our film to our media class. This was very productives as we received positive feedback and good suggestions as to how we could improve our opening sequence.
During the critique the class told us that whilst the characters,continuity and the control of the narrative was good as they were able to follow the narrative and understood the themes,there were unnecessary shots and the duration of certain shots were too long which made the sequence drag on slightly and took away the element of suspense.
It was suggested that we cut a lot of this unnecessary footage out,cut more frequently to set a faster pace which will add to the suspense. Another suggestion was to add non diegetic sound as the current film only has diegetic sound. Adding non diegetic sound will add drama and tension and will generally give the sequence a more professional feel. The soundtrack to the film will become one of our main priorities as we wrap up the editing. We are currently searching for copyright free tracks and making our own music on Garageband to add into the film. The group also felt that our credits needed more work as the names flashed up too quickly and the font didn't fit in with the theme of the film.
The film's title has been changed from 141 to Oblivious as we felt it had more relevance to the film.
During the critique the class told us that whilst the characters,continuity and the control of the narrative was good as they were able to follow the narrative and understood the themes,there were unnecessary shots and the duration of certain shots were too long which made the sequence drag on slightly and took away the element of suspense.
It was suggested that we cut a lot of this unnecessary footage out,cut more frequently to set a faster pace which will add to the suspense. Another suggestion was to add non diegetic sound as the current film only has diegetic sound. Adding non diegetic sound will add drama and tension and will generally give the sequence a more professional feel. The soundtrack to the film will become one of our main priorities as we wrap up the editing. We are currently searching for copyright free tracks and making our own music on Garageband to add into the film. The group also felt that our credits needed more work as the names flashed up too quickly and the font didn't fit in with the theme of the film.
The film's title has been changed from 141 to Oblivious as we felt it had more relevance to the film.
Friday, 25 March 2011
Cutting It- Editing
EDITING
Pace & Rhythm
-Pace of the conversation in the cab
*Casual
*Conversational
*Learn a bit about them
-Shots are very close together, short shot lengths
Editing Style
-Fade to black
-Continuity editing: action flows naturally, makes narrative easier to follow
Camera shots
-Shot reverse shots when talking
Sound and Image
-Diegetic sound: Traffic and dialogue
-Synchronous sound : Non diegetic, sad music when she gets hit by the car and sad music in the consultants room
Pace & Rhythm
-Pace of the conversation in the cab
*Casual
*Conversational
*Learn a bit about them
-Shots are very close together, short shot lengths
Editing Style
-Fade to black
-Continuity editing: action flows naturally, makes narrative easier to follow
Camera shots
-Shot reverse shots when talking
Sound and Image
-Diegetic sound: Traffic and dialogue
-Synchronous sound : Non diegetic, sad music when she gets hit by the car and sad music in the consultants room
Cutting It- Sound
SOUND
Diegetic
-Dialogue
-Background noise
Non-diegetic
-Car crash
-Sound track: sound music
Effects
-Heartbeat
-Music gets louder
-Car crash
-Car horns
Synchronous
-Sad music
-Dramatic music
Asynchronous
-Bridging music track
Diegetic
-Dialogue
-Background noise
Non-diegetic
-Car crash
-Sound track: sound music
Effects
-Heartbeat
-Music gets louder
-Car crash
-Car horns
Synchronous
-Sad music
-Dramatic music
Asynchronous
-Bridging music track
Cutting It - Camerawork
CAMERAWORK
Shots
-Close-ups
*Wedding ring
*Allie's face when she's crying
-Establishing shot
-Two shot
-Over the shoulder
-High angle (office)
-Shot reverse shot
-Long shot
-POV
-Tracking
70 cuts/shots in total
Shots
-Close-ups
*Wedding ring
*Allie's face when she's crying
-Establishing shot
-Two shot
-Over the shoulder
-High angle (office)
-Shot reverse shot
-Long shot
-POV
-Tracking
70 cuts/shots in total
Cutting It - Mise-en-scene
MISE-EN-SCENE
Location
-In cab
-Outside hospital
-On the street
*Cars driving past
*Passers by
*People at cafe
-Urban setting
Costume
-Everyday, casual clothing
-Neutral, minimal make up
Lighting
-Daylight, natural
-Low key lighting in office
*Bright and sunny lighting on her face to represent her positivity before she goes in
*Dull, grey lighting when she goes out of the hospital
Colour
-Dull
-Neutral
-Bright medical records: shows importance
Significant props
-Wedding ring
-Knocked over flowers
-Medical records
Location
-In cab
-Outside hospital
-On the street
*Cars driving past
*Passers by
*People at cafe
-Urban setting
Costume
-Everyday, casual clothing
-Neutral, minimal make up
Lighting
-Daylight, natural
-Low key lighting in office
*Bright and sunny lighting on her face to represent her positivity before she goes in
*Dull, grey lighting when she goes out of the hospital
Colour
-Dull
-Neutral
-Bright medical records: shows importance
Significant props
-Wedding ring
-Knocked over flowers
-Medical records
Cutting It
Cutting It was a popular BBC television programme set in Manchester, England, which ran for four series between 2002 and 2005. It follows the traumatic life of hairdresser Allie Henshall, alongside her lovers, her rivals and her dysfunctional family.
Monday, 21 March 2011
Representation in Media Notes
Representation in the Media
Media texts are defined as representations of reality. They are intentionally composed, lit, written, framed, cropped, captioned, branded, targeted and censored by the producers to create entirely artificial versions of the reality we perceive around us.
Every media form is a representation of someone’s concept of existence which has been codified into signs and signals which can be read by an audience.
Without media forms, our perception of reality would be limited. Audiences need artificial texts to make sense of reality.
Representation is a two –way process: producers create their perception of reality and audiences assess the text on its relationship to reality.
Extension/ Restriction of experience of reality
Media texts extend the experience of reality
Producers of the media text select the information audiences receive so experience is restricted
Truth or Lies?
The influence the media exerts has a major impact on the way we view the world. Media representations can reinforce or shatter prejudices.
Audiences generally accept the fictional extent of media texts. However as we base our perception of reality on what we see in the media we shouldn’t assume that there aren’t any elements of truth in media texts.
The study of representation decodes the different layers of truth and fiction. To fully appreciate representation’s part in a media text you should consider:
• Who produced it?
• What/who is represented in the text?
• How is that thing represented?
• Why was this particular representation (this shot, framed from this angle, this story phrased in these terms, etc.) selected and what might the alternatives have been?
• What frame of reference does the audience use when understanding the representation
Analysing Representation
The factors of representation most commonly addressed are;
• Gender
• Race
• Age
• Disability
Gender and Media Representation
Gender is the basic category for sorting humans and a key issue when discussing representation.
Gender creates essential elements of your own identity and the identity you assume other people to have – what does it mean to be a boy or girl?
Objects are often represented by the media as being masculine or feminine, particularly in advertising. We grow up with an awareness of what constitutes appropriate characteristics.
• Typically masculine – tough, hard, sweaty
• Typically feminine- fragile, soft, fragrant
Representation of Race, Ethnicity and Colour
These comprise of sets of genetically defined, biological, characteristics. There are also cultural elements in these characteristics.
Representation of race in the media can consist of rigid stereotypes similar to those of gender portrayal. Stereotyping of race is seen to be more harmful as media representation may be the only experience of contact with a particular ethnic group that an audience (particularly young audiences) may have.
These stereotypes are often based on social myths which have grown over time. These may provide children with narrow prejudices that will not be challenged elsewhere within their experience.
The priority for political agendas is for more accurate portrayal of the diversity of different races but it will take time for this thinking to filter through to TV programmes and film-making. Hollywood movies are notorious for lazy racial stereotypes.
African-African Representation
Race and Media studies usually focus on the representations of black men and women. The strong African-American counter-culture provides viable alternative role models which should be represented particularly as early racial stereotypes were obvious and offensive.
The success of actors such as Denzel Washington. Will Smith and Halle Berry has meant that black characters are no longer ‘stock’ types.
There are still negative representations of black people, portrayals which seek to incite fear and hatred of other cultures.
Latinos and Asians
Attention is now being paid to the representation of other ethnic groups notably Asian Americans and Latinos who represent a much larger proportion of the US population than their TV coverage would suggest.
Race on UK TV
Racism on TV in the UK exploded as a global issue in 2007 when Shilpa Shetty was subjected to vicious racial slurs by her white housemates. The row reached the House of Commons and became part of a national debate on the undercurrents in the UK’s supposedly multi-cultural society. As a result Channel 4 became very sensitive to allegations of racism.
Race remains a hot topic on UK television, both in fiction and non-fiction programming as it always attracts publicity. It is linked with the immigration issue and national identity. Modern Britain is populated by a diverse range of people so do national media outlets represent different colours and ethnicities proportionally. There will always be heated discussions about how different races are represented and whether these are fair representations.
Case Study: Jersey Shore
The characters of MTV’s Jersey Shore are ethnically Caucasian identify themselves culturally as being Italian-American despite the fact that none of them were born in Italy. The show has created a lot of controversy as other Italian-Americans object to this negative portrayal of their cultural and ethnic group. Within one season the show managed to create a new set of cultural stereotypes and became part of popular discourse.
Representation of Age
After gender and race, age is the most obvious and easiest category under which to file people and there are immediate judgements which come along with that categorisation.
Stereotyping according to age is widespread despite the fact that stereotyping according to race or gender would be considered unacceptable. As a result of this, people go to great lengths to conceal their age so as to avoid harsh stereotypes.
This problem may stem from a youth obsessed media which insists on worshipping beauty (associated with youth) and devaluing wisdom and experience (associated with age) Magazine editors believe that audiences want to see images of only young, smooth skinned models. This establishes youth as the hermogenic norm and when an individual begins to feel that they are deviating from the norm, there is a wide array of ‘age defying’ cosmetics which can remedy this. At a price.
Women are often victimised when it comes to judgements about age and ‘age appropriate’ behaviours, appearance and attitude.
By denying that ageing is a natural living process, you are not acknowledging that tastes and priorities grow and change. An obsession with youth and novelty also means that you disregard lessons of history and devalue experience.
The obsession with adhering to a hermogenic norm has long been the fantasy stuff of literature and film. The mythology that vampires are beautiful and forever young has evolved so much that their physical beauty is valued more than their lack of a soul. We disregard the fact that they are monsters because they are so photogenic.
There is higher visibility of older actors in a traditionally youth orientated media; this is because older audiences demand to be fairly represented in film and literature. UK television has always demonstrated that older characters are just as interesting as younger ones (Grandpa in Outnumbered)
Disability in the Media
Semantically the word ‘disabled’ causes much debate. The ‘dis’ suffix is a negative one and the dictionary defines the word as ‘made ineffective, unfit or incapable’ Quite rightly those members of the population who find themselves labelled thus feel tarred with a distasteful brush
Images of Disability
In magazines the only images of the disabled tend to be in charity advertisements and their disabilities are the main focus of the representation. Often we are encouraged to pity the person represented or give them support in another way. Ideologically speaking disabled is not sexy and does not sell stuff.
Disabled sport is seen as a poor relation to its so called able bodied counterpoint.
In film, disability is seen as a great storyline – one to inspire pity in audiences and gain Oscar nominations from peers (Tom Cruise ‘Born on the Fourth of July’ Leonardo Di Caprio ‘What’s Eating Gilbert) These actors are applauded for their fine performance as if the portrayal of disability is a particularly skilful or dangerous thing.
Genuinely disabled actors do not get major parts in films. Amputees generally get good work in Hollywood, particularly when they are needed to attach prosthetic limbs to.
Media texts are defined as representations of reality. They are intentionally composed, lit, written, framed, cropped, captioned, branded, targeted and censored by the producers to create entirely artificial versions of the reality we perceive around us.
Every media form is a representation of someone’s concept of existence which has been codified into signs and signals which can be read by an audience.
Without media forms, our perception of reality would be limited. Audiences need artificial texts to make sense of reality.
Representation is a two –way process: producers create their perception of reality and audiences assess the text on its relationship to reality.
Extension/ Restriction of experience of reality
Media texts extend the experience of reality
Producers of the media text select the information audiences receive so experience is restricted
Truth or Lies?
The influence the media exerts has a major impact on the way we view the world. Media representations can reinforce or shatter prejudices.
Audiences generally accept the fictional extent of media texts. However as we base our perception of reality on what we see in the media we shouldn’t assume that there aren’t any elements of truth in media texts.
The study of representation decodes the different layers of truth and fiction. To fully appreciate representation’s part in a media text you should consider:
• Who produced it?
• What/who is represented in the text?
• How is that thing represented?
• Why was this particular representation (this shot, framed from this angle, this story phrased in these terms, etc.) selected and what might the alternatives have been?
• What frame of reference does the audience use when understanding the representation
Analysing Representation
The factors of representation most commonly addressed are;
• Gender
• Race
• Age
• Disability
Gender and Media Representation
Gender is the basic category for sorting humans and a key issue when discussing representation.
Gender creates essential elements of your own identity and the identity you assume other people to have – what does it mean to be a boy or girl?
Objects are often represented by the media as being masculine or feminine, particularly in advertising. We grow up with an awareness of what constitutes appropriate characteristics.
• Typically masculine – tough, hard, sweaty
• Typically feminine- fragile, soft, fragrant
Representation of Race, Ethnicity and Colour
These comprise of sets of genetically defined, biological, characteristics. There are also cultural elements in these characteristics.
Representation of race in the media can consist of rigid stereotypes similar to those of gender portrayal. Stereotyping of race is seen to be more harmful as media representation may be the only experience of contact with a particular ethnic group that an audience (particularly young audiences) may have.
These stereotypes are often based on social myths which have grown over time. These may provide children with narrow prejudices that will not be challenged elsewhere within their experience.
The priority for political agendas is for more accurate portrayal of the diversity of different races but it will take time for this thinking to filter through to TV programmes and film-making. Hollywood movies are notorious for lazy racial stereotypes.
African-African Representation
Race and Media studies usually focus on the representations of black men and women. The strong African-American counter-culture provides viable alternative role models which should be represented particularly as early racial stereotypes were obvious and offensive.
The success of actors such as Denzel Washington. Will Smith and Halle Berry has meant that black characters are no longer ‘stock’ types.
There are still negative representations of black people, portrayals which seek to incite fear and hatred of other cultures.
Latinos and Asians
Attention is now being paid to the representation of other ethnic groups notably Asian Americans and Latinos who represent a much larger proportion of the US population than their TV coverage would suggest.
Race on UK TV
Racism on TV in the UK exploded as a global issue in 2007 when Shilpa Shetty was subjected to vicious racial slurs by her white housemates. The row reached the House of Commons and became part of a national debate on the undercurrents in the UK’s supposedly multi-cultural society. As a result Channel 4 became very sensitive to allegations of racism.
Race remains a hot topic on UK television, both in fiction and non-fiction programming as it always attracts publicity. It is linked with the immigration issue and national identity. Modern Britain is populated by a diverse range of people so do national media outlets represent different colours and ethnicities proportionally. There will always be heated discussions about how different races are represented and whether these are fair representations.
Case Study: Jersey Shore
The characters of MTV’s Jersey Shore are ethnically Caucasian identify themselves culturally as being Italian-American despite the fact that none of them were born in Italy. The show has created a lot of controversy as other Italian-Americans object to this negative portrayal of their cultural and ethnic group. Within one season the show managed to create a new set of cultural stereotypes and became part of popular discourse.
Representation of Age
After gender and race, age is the most obvious and easiest category under which to file people and there are immediate judgements which come along with that categorisation.
Stereotyping according to age is widespread despite the fact that stereotyping according to race or gender would be considered unacceptable. As a result of this, people go to great lengths to conceal their age so as to avoid harsh stereotypes.
This problem may stem from a youth obsessed media which insists on worshipping beauty (associated with youth) and devaluing wisdom and experience (associated with age) Magazine editors believe that audiences want to see images of only young, smooth skinned models. This establishes youth as the hermogenic norm and when an individual begins to feel that they are deviating from the norm, there is a wide array of ‘age defying’ cosmetics which can remedy this. At a price.
Women are often victimised when it comes to judgements about age and ‘age appropriate’ behaviours, appearance and attitude.
By denying that ageing is a natural living process, you are not acknowledging that tastes and priorities grow and change. An obsession with youth and novelty also means that you disregard lessons of history and devalue experience.
The obsession with adhering to a hermogenic norm has long been the fantasy stuff of literature and film. The mythology that vampires are beautiful and forever young has evolved so much that their physical beauty is valued more than their lack of a soul. We disregard the fact that they are monsters because they are so photogenic.
There is higher visibility of older actors in a traditionally youth orientated media; this is because older audiences demand to be fairly represented in film and literature. UK television has always demonstrated that older characters are just as interesting as younger ones (Grandpa in Outnumbered)
Disability in the Media
Semantically the word ‘disabled’ causes much debate. The ‘dis’ suffix is a negative one and the dictionary defines the word as ‘made ineffective, unfit or incapable’ Quite rightly those members of the population who find themselves labelled thus feel tarred with a distasteful brush
Images of Disability
In magazines the only images of the disabled tend to be in charity advertisements and their disabilities are the main focus of the representation. Often we are encouraged to pity the person represented or give them support in another way. Ideologically speaking disabled is not sexy and does not sell stuff.
Disabled sport is seen as a poor relation to its so called able bodied counterpoint.
In film, disability is seen as a great storyline – one to inspire pity in audiences and gain Oscar nominations from peers (Tom Cruise ‘Born on the Fourth of July’ Leonardo Di Caprio ‘What’s Eating Gilbert) These actors are applauded for their fine performance as if the portrayal of disability is a particularly skilful or dangerous thing.
Genuinely disabled actors do not get major parts in films. Amputees generally get good work in Hollywood, particularly when they are needed to attach prosthetic limbs to.
Tuesday, 8 March 2011
Analysing Opening Sequences - Children of Men Essay
How effectively does the opening sequence from 'Children of Men' (2006) use the forms and conventions of film openings? What is your personal response as a member of the audience?"
Children of men, 2006. Directed by Alfonso Cuarón.
When analysing opening sequences, there are many codes and conventions to consider. These codes and conventions can consist of many elements.
Technical codes, for example, consist of camera movement, framing, sound and editing. They also cover Mise-en-scene, cinematography and light and colour.
The first image the audience is presented with in the opening sequence of Children of Men is a blank screen. The lack of a proper title sequence grabs the audiences attention from the start. The title of the film isnt shown till the end of the opening sequence.
However, you can hear diegetic, off screen dialogue in the form of a news broadcast. The blank screen captures the audience's attention and engages them as there are no visual images to distract them. This also encourages the audience to listen and sets up an enigma code as the news broadcast announces 'Day 100 of the siege of Seattle' which makes you wonder what's happening in America as 'siege' suggests the city is under attack.
There is a sound bridge into the first scene as can you can still hear the news broadcast as it cuts to the first scene of a London café where customers are gathered around a TV watching the broadcast. At the bottom of the TV screen it reads, “London, 16th November 2027” which immediately informs the audience that the film is set in London, in the future. The news broadcast also informs the audience that 'Baby Diego' the youngest person in the world has died at the age of 18. From this the audience gathers that there are no children in the world and this makes them wonder what has happened to all the children.
To reinforce the location and futuristic setting, key features of London have been incorporated into the opening sequence but with a modern, futuristic twist. The streets are still crowded, the roads are still busy, red buses drive past and police still patrol the area but everything is slightly different. Instead of traditional billboards, the buses having moving images on the sides. The police uniforms have hologram badges. Engine powered rickshaws zoom across the road.
Tracking shots have been used in order to identify the main character to the audience and mark him out as an important person.He is also the only character to speak. This encourages the audience to pay attention to him and follow his movements as key clues about his character are given in the opening sequence. He doesn't seem fazed by the news broadcast,he merely glances at the screen, buys his coffee and takes it outside where he puts alcohol into it. This tells the audience that he is a hard, cold man as he doesn't seem to care that the youngest person in the world has died whereas everyone is visibly affected by the news. Also putting alcohol into the coffee shows that he has personal problems to be drinking so early. He is played by Clive Owen, who is well known for his roles in action films. From this the audience can denote that this is going to be an action/thriller film.
As the main character leaves the cafe there is an explosion. A handheld camera has been used to film this to create a realistic, panicked effect The audience can hear screams and glass smashing.
The news broadcast, police presence, explosion and a sign which reads 'Please report any suspicious activity', collude to create the impression that London and the rest of the world are unsafe, there is terrorism, death and chaos.
I feel that the opening sequence has effectively used the codes and conventions of opening sequences to engage the audience and hold their attention. The opening sequence manages to give just enough clues about the film to give the audience an insight into what may happen but there is still a major element of mystery, primarily what has happened to all the children? The opening sets up an enigma and makes the audience asks questions. As a member of the audience, i was intrigued by the blank screen and the voiceover. It encouraged me to pay attention as i didn't want to miss anything. I also liked the fact that there wasn't a proper title sequence as usually get bored waiting for the actual film to start. The opening sequence is unusual in that the main sound comes from off screen and diegetic sound. There isn't much music in whereas a lot of films will use music from famous artists, in order to engage the audience, which doesn't really have any relevance to what's going on the film. The sad, slow music which has been used to accompany the news broadcast is contrapuntal to everyone's mood. Overall, i feel that the opening sequence is effective and would encourage people to watch the rest of the film.
Children of men, 2006. Directed by Alfonso Cuarón.
When analysing opening sequences, there are many codes and conventions to consider. These codes and conventions can consist of many elements.
Technical codes, for example, consist of camera movement, framing, sound and editing. They also cover Mise-en-scene, cinematography and light and colour.
The first image the audience is presented with in the opening sequence of Children of Men is a blank screen. The lack of a proper title sequence grabs the audiences attention from the start. The title of the film isnt shown till the end of the opening sequence.
However, you can hear diegetic, off screen dialogue in the form of a news broadcast. The blank screen captures the audience's attention and engages them as there are no visual images to distract them. This also encourages the audience to listen and sets up an enigma code as the news broadcast announces 'Day 100 of the siege of Seattle' which makes you wonder what's happening in America as 'siege' suggests the city is under attack.
There is a sound bridge into the first scene as can you can still hear the news broadcast as it cuts to the first scene of a London café where customers are gathered around a TV watching the broadcast. At the bottom of the TV screen it reads, “London, 16th November 2027” which immediately informs the audience that the film is set in London, in the future. The news broadcast also informs the audience that 'Baby Diego' the youngest person in the world has died at the age of 18. From this the audience gathers that there are no children in the world and this makes them wonder what has happened to all the children.
To reinforce the location and futuristic setting, key features of London have been incorporated into the opening sequence but with a modern, futuristic twist. The streets are still crowded, the roads are still busy, red buses drive past and police still patrol the area but everything is slightly different. Instead of traditional billboards, the buses having moving images on the sides. The police uniforms have hologram badges. Engine powered rickshaws zoom across the road.
Tracking shots have been used in order to identify the main character to the audience and mark him out as an important person.He is also the only character to speak. This encourages the audience to pay attention to him and follow his movements as key clues about his character are given in the opening sequence. He doesn't seem fazed by the news broadcast,he merely glances at the screen, buys his coffee and takes it outside where he puts alcohol into it. This tells the audience that he is a hard, cold man as he doesn't seem to care that the youngest person in the world has died whereas everyone is visibly affected by the news. Also putting alcohol into the coffee shows that he has personal problems to be drinking so early. He is played by Clive Owen, who is well known for his roles in action films. From this the audience can denote that this is going to be an action/thriller film.
As the main character leaves the cafe there is an explosion. A handheld camera has been used to film this to create a realistic, panicked effect The audience can hear screams and glass smashing.
The news broadcast, police presence, explosion and a sign which reads 'Please report any suspicious activity', collude to create the impression that London and the rest of the world are unsafe, there is terrorism, death and chaos.
I feel that the opening sequence has effectively used the codes and conventions of opening sequences to engage the audience and hold their attention. The opening sequence manages to give just enough clues about the film to give the audience an insight into what may happen but there is still a major element of mystery, primarily what has happened to all the children? The opening sets up an enigma and makes the audience asks questions. As a member of the audience, i was intrigued by the blank screen and the voiceover. It encouraged me to pay attention as i didn't want to miss anything. I also liked the fact that there wasn't a proper title sequence as usually get bored waiting for the actual film to start. The opening sequence is unusual in that the main sound comes from off screen and diegetic sound. There isn't much music in whereas a lot of films will use music from famous artists, in order to engage the audience, which doesn't really have any relevance to what's going on the film. The sad, slow music which has been used to accompany the news broadcast is contrapuntal to everyone's mood. Overall, i feel that the opening sequence is effective and would encourage people to watch the rest of the film.
Monday, 7 March 2011
Roles of the group
In order to achieve fairness and balance, each member of the group will take a turn at the different processes involved but to make it easier, the group has been divided into two halves. Hayley and Sasha are concentrating on the filming and editing aspects of the project whereas myself and Alex are focused on the planning, soundtrack and the group blog. Myself and Alex have reviewed the footage and offered suggestions and improvements to the edited footage. We also edited a few scenes ourselves although Hayley and Sasha were found to be more proficient at this. Hayley and Sasha have also contributed to the group blog, posting updates on their progress and uploading the preliminary activity. Originally we had decided that due to transport issues, we all live in different areas, our two small groups would film particular scenes of the project. However we felt that this would not be an efficient method of working as when it came to editing, the footage from each group would not match up and there would be continuity errors which would impair the audience's viewing experience.
Overall, i feel that our method of working has been successful as everyone in the group knows what we're doing and we regularly check in with each other to discuss our progress and what to do next.
Overall, i feel that our method of working has been successful as everyone in the group knows what we're doing and we regularly check in with each other to discuss our progress and what to do next.
Media Group Q - Personal Response
Our media group consists of four members; myself, Alex, Hayle and Sasha. I was already friends with Alex as she was a former West Hatch student but Hayley and Sasha hadn't previously attended West Hatch so working together as a group allowed us to mix with new people which is always exciting and challenging. I feel that we all work well as a group as we are able to communicate effectively by listening and further developing people's ideas and suggestions. Our film idea is based around the thriller genre, a young girl is kidnapped the morning after a party. There are flashbacks from the night before to create intrigue and give the audience more of an insight into the young girl, Hollie's, character but there is an element of mystery as the identity of the kidnapper is kept hidden from the audience which sets up an enigma code. Each member of the group contributed to and further developed my original idea which was a young girl waking up from a party to find that her house is a mess. Alex suggested that we further develop the party idea and the significance of it to the film this was done by incorporating flashbacks from the night before. Hayley thought of a mysterious cold caller, this is what generated the title of the film, 141. A call from an unknown number. Sasha created the identity of the Hollie and plays her in the opening sequence. She also came up with the kidnapping idea, particularly the actual process of the kidnapping. Hollie is making a cup of tea when she is forcibly attacked by her kidnapper.
Saturday, 5 March 2011
Individual Response to Opening Sequence Idea
I think that the idea for our opening sequence is a good idea. It follows the conventions of the thriller genre in that a young girl is kidnapped by a mysterious figure. This idea has been used in thrillers such as Taken which I think is a prefect example how a kidnaping can be the base and the subplot of a thriller film.
I think the opening sequence has an interesting twist, the flashbacks to the party the night before create an extra dimension. It gives the character, Hollie, more of an identity. She is a young girl who enjoys partying and having fun but pays for her wild lifestyle when she is kidnapped the following morning.
This sets up an enigma, it makes the audience wonder who she is and why she's been kidnapped. What could a seemingly harmless young girl have done to warrant being kidnapped? There is also the element of mystery behind the masked, mysterious kidnapper. You want to find out who it is.
I think the opening sequence has an interesting twist, the flashbacks to the party the night before create an extra dimension. It gives the character, Hollie, more of an identity. She is a young girl who enjoys partying and having fun but pays for her wild lifestyle when she is kidnapped the following morning.
This sets up an enigma, it makes the audience wonder who she is and why she's been kidnapped. What could a seemingly harmless young girl have done to warrant being kidnapped? There is also the element of mystery behind the masked, mysterious kidnapper. You want to find out who it is.
How does the planned opening fit with the codes and conventions of our chosen genre?
The brainstorm we scanned onto the blog just consisted of ideas for the horror genre but initially we brainstormed other genres thoroughly before choosing the genre that fit our film idea best . First of all we brainstormed different film genres and then tried to expand on them. The genres we wrote about were Horrors, Action, comedy and Thriller. As our brainstorm shows our ideas of a thriller I wont expand on that genre. Our film is called 141. This represents a phone call from an unknown number. This can be put into the action genre through the girl getting kidnapped or trying to find out what has happened at her party. Horror could be expanded that maybe a dead body could be found in the closet or there was a murder at the party and blood everywhere. From the horror ideas, the film could be put into a mystery genre by having the audience feel they are helping to catch the murderer throughout the film. The film idea could be made into a comedy but this would be particularly difficult as everyone has different views on humour and wouldn't be able to catch a target audience through it.
We settled on the thriller genre as it seemed simpler to do and can appeal to all different audiences.
The conventions of this genre that feature in the opening sequence are as aforementioned, a kidnapping, mysterious figures in dark clothes. The codes in this film are phones ringing and the phone cord being cut, dark leather gloved hand, the reflection of a mysterious figure in the surface of the kettle, bloody footprints. The audience will recognise these codes and assosciate them with the thriller genre.
We settled on the thriller genre as it seemed simpler to do and can appeal to all different audiences.
The conventions of this genre that feature in the opening sequence are as aforementioned, a kidnapping, mysterious figures in dark clothes. The codes in this film are phones ringing and the phone cord being cut, dark leather gloved hand, the reflection of a mysterious figure in the surface of the kettle, bloody footprints. The audience will recognise these codes and assosciate them with the thriller genre.
Commentary: Things learnt from preliminary activity
The prelimnary activity was very useful. I learnt about the myriad of shots you can use in a scene and the different effects you can get from positioning the camera in a particular manner.
I had not previously used the Final Cut program before so the preliminary activity was the perfect opportunity to familiarise myself with the program and the editing techniques. When we actually edited our preliminary sequence, we used very few editing techniques as the group wanted to convey a fun, natural sequence.
I had not previously used the Final Cut program before so the preliminary activity was the perfect opportunity to familiarise myself with the program and the editing techniques. When we actually edited our preliminary sequence, we used very few editing techniques as the group wanted to convey a fun, natural sequence.
Inspiration behind Opening/Thoughts about choice
Films which inspired our opening sequence
This is a classic party scene from the film 'Can't Hardly Wait'
Despite the fact that the film is a comedy and therefore this scene features comedic elements and our own film is a thriller, i thought it was a good example of a party scene and would provide inspiration for our own sequence
This is a classic party scene from the film 'Can't Hardly Wait'
Despite the fact that the film is a comedy and therefore this scene features comedic elements and our own film is a thriller, i thought it was a good example of a party scene and would provide inspiration for our own sequence
Inspiration behind Opening/ Thoughts about choice
Films which have inspired our opening sequence
This is a scene from the Masters of Horror film 'Fair Haired Child' It is not a well known film but it provided good inspiration for 141 as it featured the kidnapping scene of a young girl. The kidnapping scene in Fair Haired Child exposes the kidnappers, you can clearly see their faces and where they are taking their victim whereas in our opening sequence we decided to create an element of mystery by masking the kidnapper and hiding his identity.
This is a scene from the Masters of Horror film 'Fair Haired Child' It is not a well known film but it provided good inspiration for 141 as it featured the kidnapping scene of a young girl. The kidnapping scene in Fair Haired Child exposes the kidnappers, you can clearly see their faces and where they are taking their victim whereas in our opening sequence we decided to create an element of mystery by masking the kidnapper and hiding his identity.
Planning your opening sequence
PLANNING YOUR (OPENING) SEQUENCE
Please describe or explain the following:
1. The action: identify the event your idea is based around; what actually happens
The kidnapping of a girl from her house, the morning after the party
2. The theme(s): what should it make it the audience think about or feel, what ‘issues’ will it raise
Teenage drinking, kidnapping, murder
3. The narrative: how is it structured – classic narrative pattern or break with convention; real time or different time zones, flashbacks/ forwards, dreams etc. Will there be dialogue? What about diegetic/ non diegetic sound?
Real time (morning sequence), flash backs to night before, flash forwards to morning after, diegetic and non diegetic sound (music)
4. The character(s): who are they, identify their roles, what are their characteristics, including gender, appearance etc?
Main character – Female, Hollie – Long dark hair, dressed up for a party
Partygoers
Kidnapper – Mysterious, identity unknown, dark clothing
5. The setting and choice of location : where is it set?
In a house (Holly’s house)
6. The mise-en-scene: identify colours, lighting, dress codes, the overall visual look
Costume
Kidnapper – dark clothes, gloves, mask to hide identity
Holly – Clothes from night before and slippers
Visual Look – Messy room, bottles, things on the floor
7. The camera work: the style you are aiming for
Handheld, steadi cam- Lots of POV shots
Please describe or explain the following:
1. The action: identify the event your idea is based around; what actually happens
The kidnapping of a girl from her house, the morning after the party
2. The theme(s): what should it make it the audience think about or feel, what ‘issues’ will it raise
Teenage drinking, kidnapping, murder
3. The narrative: how is it structured – classic narrative pattern or break with convention; real time or different time zones, flashbacks/ forwards, dreams etc. Will there be dialogue? What about diegetic/ non diegetic sound?
Real time (morning sequence), flash backs to night before, flash forwards to morning after, diegetic and non diegetic sound (music)
4. The character(s): who are they, identify their roles, what are their characteristics, including gender, appearance etc?
Main character – Female, Hollie – Long dark hair, dressed up for a party
Partygoers
Kidnapper – Mysterious, identity unknown, dark clothing
5. The setting and choice of location : where is it set?
In a house (Holly’s house)
6. The mise-en-scene: identify colours, lighting, dress codes, the overall visual look
Costume
Kidnapper – dark clothes, gloves, mask to hide identity
Holly – Clothes from night before and slippers
Visual Look – Messy room, bottles, things on the floor
7. The camera work: the style you are aiming for
Handheld, steadi cam- Lots of POV shots
Initial idea for film
My own initial idea for the film was that a young girl wakes up from a house party to find that the house is a mess. I submitted this idea to the group and it was received favourably, this idea was then further developed and improved and eventually became the opening sequence for 141
Analysis of Opening Sequence: Zombieland
Zombieland
Director:Ruben Fleischer
Released: 2009
The narrative function is to give a backstory to the film, sets up that America has become a 'Zombieland' The opening sequence follows the conventions of the horror and comedy genres. The title credits are animated and move around the frame. There is lots of blood and gore which immediately indicates that this is a film for older audiences.
In terms of cinematography, there are fades to black.
Slow motion has been used to create humour, when the zombies are chasing and killing people. Some scenes are shot using a handheld camera to create a more realistic, documentary feel to the film.
Director:Ruben Fleischer
Released: 2009
The narrative function is to give a backstory to the film, sets up that America has become a 'Zombieland' The opening sequence follows the conventions of the horror and comedy genres. The title credits are animated and move around the frame. There is lots of blood and gore which immediately indicates that this is a film for older audiences.
In terms of cinematography, there are fades to black.
Slow motion has been used to create humour, when the zombies are chasing and killing people. Some scenes are shot using a handheld camera to create a more realistic, documentary feel to the film.
Analysis of Opening Sequence: Se7en
Se7en
Director:David Fincher
Released:1995
The narrative function is to introduce Morgan Freeman as the main character. Brad Pitt is also introduced. The credits are very artistic and unusual, i think that they are a key part of the film. Dark and gloomy have been used to set the scene, also the rain outside again signifies the gloomy theme of the film. The characters are wearing dark clothing to match the dark setting and theme. High pitched, fast paced music features throughout the credits.
Director:David Fincher
Released:1995
The narrative function is to introduce Morgan Freeman as the main character. Brad Pitt is also introduced. The credits are very artistic and unusual, i think that they are a key part of the film. Dark and gloomy have been used to set the scene, also the rain outside again signifies the gloomy theme of the film. The characters are wearing dark clothing to match the dark setting and theme. High pitched, fast paced music features throughout the credits.
Analysis of Opening Sequence:Cleaner
Cleaner
Director: Renny Martin
Released: 2007
The narrative function is to introduce the 'Cleaner' and his job to the audience. It adheres to the conventions of opening sequences as credits feature during the sequence, they are placed over the frame.
The main character, tom the cleaner (Samuel L Jackson) is introduced.
In terms of cinematography, the colours are washed out and muted perhaps to signify the dullness of the cleaning job. The camera movements used in the opening sequence are interesting, there are a variety of camera movements and angles. Contrapuntal sound is also used.
Director: Renny Martin
Released: 2007
The narrative function is to introduce the 'Cleaner' and his job to the audience. It adheres to the conventions of opening sequences as credits feature during the sequence, they are placed over the frame.
The main character, tom the cleaner (Samuel L Jackson) is introduced.
In terms of cinematography, the colours are washed out and muted perhaps to signify the dullness of the cleaning job. The camera movements used in the opening sequence are interesting, there are a variety of camera movements and angles. Contrapuntal sound is also used.
Analysis of Opening Sequence : The Prestige
The Prestige
Director: Christopher Nolan
Release: 2006
The narrative function of this opening sequence is to introduce the topic of the film, the secretive world of magicians. As such it displays the conventions of opening sequences, there are no immediate credits, the Warner Bros and Touch Screen Pictures logo is displayed and a voiceover asks the audience 'Are you watching closely?' which encourages them to pay close attention as this is a complex film.
The characters introduced are Alfie Borden (Christian Bale), Cutter, the engineer (Michael Caine), Mr Angier (Hugh Jackman)
The Prestige is set in Victorian times. This is evident from the old fashioned costume which is in keeping with the time period. The first shot the audience sees is an establishing shot of top hats in a forest. This creates enigma, the audience wonders why all those top hats are there. The camera then cuts to close ups of chicks in a cage and you can hear the birds chirping. Sound is a prominent feature in this opening sequence, from the voiceover to the sound of electricity crackling or the bubbling as Mr Angier drowns.
Director: Christopher Nolan
Release: 2006
The narrative function of this opening sequence is to introduce the topic of the film, the secretive world of magicians. As such it displays the conventions of opening sequences, there are no immediate credits, the Warner Bros and Touch Screen Pictures logo is displayed and a voiceover asks the audience 'Are you watching closely?' which encourages them to pay close attention as this is a complex film.
The characters introduced are Alfie Borden (Christian Bale), Cutter, the engineer (Michael Caine), Mr Angier (Hugh Jackman)
The Prestige is set in Victorian times. This is evident from the old fashioned costume which is in keeping with the time period. The first shot the audience sees is an establishing shot of top hats in a forest. This creates enigma, the audience wonders why all those top hats are there. The camera then cuts to close ups of chicks in a cage and you can hear the birds chirping. Sound is a prominent feature in this opening sequence, from the voiceover to the sound of electricity crackling or the bubbling as Mr Angier drowns.
Analysis of Opening Sequence: The Mummy
The Mummy
Director: Steven Summers
Release: 1999
The narrative function of this opening sequence is to give the back story of the film, it sets up how the 'mummy' was created. As such it follows the conventions of opening sequences, it sets up the story of the film, there are no immediate credits, there is a voiceover and the Universal logo is displayed
Characters introduced are Imhotep, the priest who later becomes the mummy. Anck Su Namun, the Pharoah's mistress and Imhotep's lover and the Pharoah, Theti.
The scene begins with a graphic match, the Universal logo becomes the sun. The establishing shot is of a pyramid, which immediately indicates that the film is set in Ancient Egypt. This is also evident in the costume. There are panning and crane shots of the city, which has been created using CGI, to show off its size and grandeur.
In terms of cinematography, special care has been taken in the positioning within the frame, particularly the close up shot of Imhotep smearing the paint on Anck Su Namun's arm as this is the key clue to the pharoah discovering Imhotep and Anck Su Namun's affair.
Director: Steven Summers
Release: 1999
The narrative function of this opening sequence is to give the back story of the film, it sets up how the 'mummy' was created. As such it follows the conventions of opening sequences, it sets up the story of the film, there are no immediate credits, there is a voiceover and the Universal logo is displayed
Characters introduced are Imhotep, the priest who later becomes the mummy. Anck Su Namun, the Pharoah's mistress and Imhotep's lover and the Pharoah, Theti.
The scene begins with a graphic match, the Universal logo becomes the sun. The establishing shot is of a pyramid, which immediately indicates that the film is set in Ancient Egypt. This is also evident in the costume. There are panning and crane shots of the city, which has been created using CGI, to show off its size and grandeur.
In terms of cinematography, special care has been taken in the positioning within the frame, particularly the close up shot of Imhotep smearing the paint on Anck Su Namun's arm as this is the key clue to the pharoah discovering Imhotep and Anck Su Namun's affair.
Editing Essay: Pillow Talk and Fringe
The primary difference between the editing styles of Pillow Talk and Fringe is pace. Pillow Talk was produced in 1959 whereas Fringe is a very modern programme and was last featured on tv in 2011. From this alone we are automatically able to deduce that the two films will have a dissimilar pace.
The pace in Pillow Talk is considerably slower compared to Fringe. The average time between each edit is apporximately 12 seconds. Naturally editing and filming techniques were far less advanced in 1959 compared to modern day techniques so lengthy time periods between edits and less variety in shots and cuts are to be expected but modern audiences would find the film boring and lose interest. A classic example of lengthy editing in Pillow Talk, is the restaurant scene where the camera is trained on Doris Day and Rock Hudson for around 1 minute and 38 seconds with only two edits used on the footage.
The film was very well received in 1959, the simple romantic comedy plot of arguing neighbours that fall in love would have appealed to audiences. Back then, the cinema was a form of escapism. Audiences would suspend their disbelief and immerse themselves completely in the film. The primary advantage that cinemas have over television programmes is that cinema audiences have paid to see a film and therefore will be less inclined to leave if the film is not to their expectations. Television audiences have far more choice than cinema goers, if a programme isn't to their expectations there is a huge variety of other shows on offer. So in order to maintain high viewing figures, TV producers need to ensure that every scene holds the audience's attention with fast pace, complex and exciting storylines and perfect editing.
In Fringe, the pace is brisk and accelerated. There are approximately four seconds between each edit, This demonstrates that due to advances in technology, the pace and momentum of modern films and tv programmes has increased. Fringe is a TV programme and so needs to hold the audiences attention as there is a wide variety of other shows available to them. Compared to Pillow Talk, there is less dialogue which makes it difficult for audiences to identify characters as they're not fully introduced to audiences. There is an element of mystery around the characters.
I believe that there was so much focus on the characters and their identities in Pillow Talk because they were the main focus in the film, Doris Day and Rock Hudson were extremely popular actors in that period so audiences would have gone to see the film specifically because of the actors. This completely differs to most modern day films and tv programmes, the actors are just one element of the film. The special effects and set also take centre stage. This is exactly the case in Fringe, the futuristic location and special effects are prominent here. In one shot, blimps and spaceships are in the background of the frame demonstrating that the show is set in the future.
The editing styles are also very different. In Pillow Talk a variety of edits are used. Straights cuts are used to quickly jump to and from different characters and locations within a scene. Dissolve cuts are also used in order to demonstrate the passage of time or to indicate the particular subject of a conversation as in a scene where Rock Hudson's character and a friend are talking about Doris Day's character and the scene then dissolve cuts to her. Wipes and split screens prominently feature throughout Pillow Talk, particularly during telephone conversations. This adds a more three dimensional feel and enables the audience to see both sides of the conversation and engages and involves them with the film.
Fringe mainly uses straight cuts to keep the scenes look clean, sharp and precise. The time period between edits is short which keeps the pacing of the programme fast and energetic.
There are similarities between the two. Close ups feature in both Fringe and Pillow Talk in order to display the facial expressions and emotions of the characters.
Sherlock Holmes Film Review
Attempting to transform the story of a legendary print media hero into a crowd pleasing box-office smash is no mean feat. Which is why, I reckon, Guy Ritchie of Revolver, Snatch and RocknRolla fame was probably the best man for the job. And what an excellent job he did. 2009’s Sherlock Holmes somehow manages to transcend its crowd-pleasing box-office ambition to deliver a film which is probably the best and most youthful Sherlock Holmes movie ever.
Robert Downey Jr’s Sherlock Holmes is assigned to track down Lord Henry Blackwood (Mark Strong), a visionary convicted and hanged for practicing the “dark arts” which has resulted in the ritualistic killings of five young women. Lord Blackwood has defied nature in order to mysteriously come back from the dead in order to sow panic in the city.
We first encounter Holmes as he intervenes in one of Blackwood’s ritualistic killings. His intuitiveness and perception is demonstrated as he saves Dr John Watson (Jude Law) from being pierced by a near invisible glass blade. In allusion to the more contemporary take on the character Downey wears a cape- less coat and instead of the iconic deerstalker cap; his preferred choice of headwear is a fedora. Watson’s wardrobe also abounds with bespoke Saville Row clothing.
The film focuses on the Holmes-Watson partnership. The pair share an East End apartment at 221B Baker Street, with Watson barely tolerating Holmes’ unhygienic ways, setting of furniture on fire and experiments on their flatulent pet bulldog, Gladstone. Watson’s cool attitude is the perfect foil to Holmes’ rough, erratic edges, the well groomed gentleman is the perfect contrast to his friend’s usually befuddled and unkempt looks. In the scenes shared by the two, we gather Watson’s protectiveness toward his friend and Holmes’ barely concealed dismay over the doctor’s wish to settle down which leads to a remarkable early scene where Holmes, picking up clues from her appearance, exposes the less admirable side of Watson’s intended bride, Mary Morstan (Kelly Reilly), jeopardising the doctor’s plan to propose marriage.
Downey’s Holmes efficiently combines impulse, wit and intuition. One moment he is delivering fatal karate kicks in a Fight club-esque scene, the next he is formulating elegant conclusions or dabbling in chemical experiments. In between he is knowingly comic or cautiously romantic with the only woman who can outsmart him, professional thief, diabolical schemer and love interest Irene Adler (Rachel McAdams) who mysteriously reappears just when Holmes is about to fracture the ribs of an opponent.
Computer imaging brings to the screen the era of Industrial Revolution, its grime, smoke and soot and also its modern shipyards. The walkway on the half completed Tower Bridge is where the breath taking climax is played out. The wharf scene where Watson accidentally unleashes an unfinished ship to the River Thames is also a visual treat.
Meanwhile, Holmes and Downey will be back next year in a sequel, where his nemesis Moriarty will share top billing. In the prequel, we encounter only the mysterious villain’s voice and look forward to discovering how Ritchie will update the villain.
Robert Downey Jr’s Sherlock Holmes is assigned to track down Lord Henry Blackwood (Mark Strong), a visionary convicted and hanged for practicing the “dark arts” which has resulted in the ritualistic killings of five young women. Lord Blackwood has defied nature in order to mysteriously come back from the dead in order to sow panic in the city.
We first encounter Holmes as he intervenes in one of Blackwood’s ritualistic killings. His intuitiveness and perception is demonstrated as he saves Dr John Watson (Jude Law) from being pierced by a near invisible glass blade. In allusion to the more contemporary take on the character Downey wears a cape- less coat and instead of the iconic deerstalker cap; his preferred choice of headwear is a fedora. Watson’s wardrobe also abounds with bespoke Saville Row clothing.
The film focuses on the Holmes-Watson partnership. The pair share an East End apartment at 221B Baker Street, with Watson barely tolerating Holmes’ unhygienic ways, setting of furniture on fire and experiments on their flatulent pet bulldog, Gladstone. Watson’s cool attitude is the perfect foil to Holmes’ rough, erratic edges, the well groomed gentleman is the perfect contrast to his friend’s usually befuddled and unkempt looks. In the scenes shared by the two, we gather Watson’s protectiveness toward his friend and Holmes’ barely concealed dismay over the doctor’s wish to settle down which leads to a remarkable early scene where Holmes, picking up clues from her appearance, exposes the less admirable side of Watson’s intended bride, Mary Morstan (Kelly Reilly), jeopardising the doctor’s plan to propose marriage.
Downey’s Holmes efficiently combines impulse, wit and intuition. One moment he is delivering fatal karate kicks in a Fight club-esque scene, the next he is formulating elegant conclusions or dabbling in chemical experiments. In between he is knowingly comic or cautiously romantic with the only woman who can outsmart him, professional thief, diabolical schemer and love interest Irene Adler (Rachel McAdams) who mysteriously reappears just when Holmes is about to fracture the ribs of an opponent.
Computer imaging brings to the screen the era of Industrial Revolution, its grime, smoke and soot and also its modern shipyards. The walkway on the half completed Tower Bridge is where the breath taking climax is played out. The wharf scene where Watson accidentally unleashes an unfinished ship to the River Thames is also a visual treat.
Meanwhile, Holmes and Downey will be back next year in a sequel, where his nemesis Moriarty will share top billing. In the prequel, we encounter only the mysterious villain’s voice and look forward to discovering how Ritchie will update the villain.
Harry Potter Billboard
This poster was used on billboards and posters to promote the film. The graphology of the poster denotes that it is a dark, serious, mature film. Dark colours have been used to establish with the iconic harry potter logo at the forefront as the audience will recognise this and assosciate it with the film.
Harry Potter Video Game
This is the computer game for the Harry Potter film. Merchandising such as video games, targets younger segments of the market and makes it more accessible to them.
Harry Potter Film Poster
This film poster was used to promote and generate interest for the upcoming movie. The colours used in this poster are very dark, this shows that it is a serious grown up movie and not targeted towards younger audiences.
Harry Potter Movie Trailer
This trailer was shown in cinemas, on the television and the internet in order to generate excitement and anticipation for the upcoming film. The purpose of a trailer is to promote discussion of a film, the producers want people to talk about the film, spread the word and eventually go see it.
Harry Potter Merchandising
Film merchandising has become an extremely lucrative industry. Fans of global phenomenons such as Harry Potter seem only too happy to lap up memorabilia of the film.
According to an article from the BBC, a successful Hollywood film can make around $120m from the box office. On top of that it can generate about $60m from anciliary products such as DVD's and pay-per-view. Strong merchandising however, can earn an extra $50-$200m depending on how exploitable the fim is.
According to an article from the BBC, a successful Hollywood film can make around $120m from the box office. On top of that it can generate about $60m from anciliary products such as DVD's and pay-per-view. Strong merchandising however, can earn an extra $50-$200m depending on how exploitable the fim is.
Close Up Shot
CU Shot
Used to show details on a subject or object. Commonly used to show a character's facial expressions and emotions.
Used to show details on a subject or object. Commonly used to show a character's facial expressions and emotions.
Low Angle Shot
Low Angle Shot
Similar to a worm's eye view shot although instead of simply looking up at a subject or object, the camera is positioned to film what is at its level as in this low angle scene of a freight train where the surroundings are clearly visible.
Similar to a worm's eye view shot although instead of simply looking up at a subject or object, the camera is positioned to film what is at its level as in this low angle scene of a freight train where the surroundings are clearly visible.
Worm's Eye View Shot
Worm's eye View Shot
The camera is positioned so it is looking up at a subject or object. It gives the subject importance and dominance as in this scene, where the chicks and chickens appear to be domininant as they are at the forefront of the frame and fill the frame.
The camera is positioned so it is looking up at a subject or object. It gives the subject importance and dominance as in this scene, where the chicks and chickens appear to be domininant as they are at the forefront of the frame and fill the frame.
Bird's Eye View Shot
Bird's Eye View Shot
Also referred to as aerial or crane shots, bird's eye view shots are when the camera is placed high up in order to gain an extra height perspective. This shot is used to give character's vulnerability and insignificance as the camera is looking down on them which makes them seem weaker. They can aslo be used to show off scenery as in this scene which shows off the beautiful Hawaiian scenery.
Also referred to as aerial or crane shots, bird's eye view shots are when the camera is placed high up in order to gain an extra height perspective. This shot is used to give character's vulnerability and insignificance as the camera is looking down on them which makes them seem weaker. They can aslo be used to show off scenery as in this scene which shows off the beautiful Hawaiian scenery.
Whip Pan Shot
Whip Pan Shot
Whip pan shots are where the camera 'whips' across the screen, moving sideways very quickly. They are commonly used to indicate the passage of time or a frenetic pace of action as in this scene from Cloverfield, where the camera frantically whips across the screen to show the panicked crowd.
Whip pan shots are where the camera 'whips' across the screen, moving sideways very quickly. They are commonly used to indicate the passage of time or a frenetic pace of action as in this scene from Cloverfield, where the camera frantically whips across the screen to show the panicked crowd.
Establishing Shot
Establishing Shot
Establishing shots are used to show the setting, scene or participants. They usually feature at the beginning of a scene in order to give the audience an insight into the location of the scene. Landmarks are commonly used to establish that a scene is in a specific location. In these scene, the feature landmark is the iconic Grand Canyon.
Establishing shots are used to show the setting, scene or participants. They usually feature at the beginning of a scene in order to give the audience an insight into the location of the scene. Landmarks are commonly used to establish that a scene is in a specific location. In these scene, the feature landmark is the iconic Grand Canyon.
Reverse Track Shot
Reverse Track Shot
In a reverse tarck shot, the camera will zoom in out and out of the background to focus the audience's attention on a particular subject. This shot usually features in scenes where something dramatic has happened and a particular object or subject needs to be the main focus. This scene is short but perfectly demonstrates the reverse track shot method, the pumpkin is clearly the main focus of the frame.
In a reverse tarck shot, the camera will zoom in out and out of the background to focus the audience's attention on a particular subject. This shot usually features in scenes where something dramatic has happened and a particular object or subject needs to be the main focus. This scene is short but perfectly demonstrates the reverse track shot method, the pumpkin is clearly the main focus of the frame.
Tracking Shot
Tracking Shot
In tracking shots the camera moves forwards and backwards to focus upon a particular object or character. I think that this is a good example of a tracking shot as instead of following the character from one angle, a variety of camera angles and movements are used which makes it more interesting for the audience.
In tracking shots the camera moves forwards and backwards to focus upon a particular object or character. I think that this is a good example of a tracking shot as instead of following the character from one angle, a variety of camera angles and movements are used which makes it more interesting for the audience.
Aspects of Film Language : Panning Shot
Panning Shot
Panning shots are used to highlight the setting of a scene and the speed of objects and characters within that scene. In most circumstances the camera will pan across the screen from left to right in order to show the audience a clear view of the setting.
Panning shots are used to highlight the setting of a scene and the speed of objects and characters within that scene. In most circumstances the camera will pan across the screen from left to right in order to show the audience a clear view of the setting.
Who is Sophia?
Hmm who is Sophia?
Well I'm possibly one of the nuttiest people you'll ever have the fortune (or misfortune) to meet. I was brought into the world kicking and screaming on the 7th February 1994 at 5.01 AM and haven't stopped shrieking since.
I really love my music, especially dance. I one day hope to own a clubbing empire across the UK to rival Ibiza. It's gonna happen.
I think i'm a bit of a film buff which is why i chose to do Media Studies althogh i'm not too keen on huge hollywood blockbusters. I love the classics, film noir, little arty, independent foreign films. I think that films were once so creative and they were an amazing form of escapism but now it's such a lucrative industry the focus is on sticking as many special effects in as you can and making money which lets down the actual plot of films.
Well I'm possibly one of the nuttiest people you'll ever have the fortune (or misfortune) to meet. I was brought into the world kicking and screaming on the 7th February 1994 at 5.01 AM and haven't stopped shrieking since.
I really love my music, especially dance. I one day hope to own a clubbing empire across the UK to rival Ibiza. It's gonna happen.
I think i'm a bit of a film buff which is why i chose to do Media Studies althogh i'm not too keen on huge hollywood blockbusters. I love the classics, film noir, little arty, independent foreign films. I think that films were once so creative and they were an amazing form of escapism but now it's such a lucrative industry the focus is on sticking as many special effects in as you can and making money which lets down the actual plot of films.
Subscribe to:
Posts (Atom)