Night Terrors.
SETTING; local streets, alleyway, dark and damp, very few people about.
TIME; night.
CHARACTER(S); a girl aged between 15-19 walking home from work, she has headphones on and its completely unaware of her suroundings.
DIALOGUE; none.
BACKING TRACK/MUSIC; rock music/ dark and atmospherical (Of Mice And Men / Paramore)
-------------------------------------------------------------------------------------------------------------
__ = ANGLE OR SHOT. ___ = SOUND OR DIALOGUE. = CAMERA MOVEMENT.
(ESTABLISHING SHOT)The streets are dark and damp as the streetlights slowly flicker on, one by one; streets almost deserted and left to be consumed by the shadows. (ZOOMS INTO A MIDSHOT)(TRACK) A woman, headphones on, deafening her from everything else, walks down the street. Before turning the corner, she pulls out her phone from her coat pocket. (HIGH ANGLE SHOT, CLOSE-UP)(STATIC)The text reads; "I'LL BE HOME SOON. MARY x" (LONG SHOT, FLAT ANGLE)(PAN)She puts her phone back in her pocket and starts to walk down the alleyway.
(CLOSE-UP SHOT, HIGH ANGLE)(STEADY CAM)She takes out her ipod and turns the music up to its maximum volume. (BACKING TRACK OF THE MUSIC SHE IS LISTENING TO)She continues to walk down the alleyway. (LONG SHOT, HIGH ANGLE)(STATIC)
(LONG SHOT, FLAT ANGLE)(STEADY CAM)Behind her, a dark figure emerges from the shadows, and the girl is obliviant to this. Girl continues walking, hands in pockets listening to her music. (MUSIC STILL PLAYING OVER FOOTAGE)Eventually the girl stops dead, sensing someone behind her. (EXTREME CLOSE-UP OF HER EYES, FLAT ANGLE)(STATIC)(MUSIC DIES DOWN UNTIL ITS ONLY BARELY HEARD MUFFLED, FROM HER HEADPHONES)
(LONG SHOT, FLAT ANGLE)(BACKWARDS CREEP)The girl turn round slowly and peers behind her. (BIRDS-EYE-VIEW SHOWS SHE IS ALONE)
(MID SHOT, HIGH ANGLE)(PAN)She keeps walking, assuming it was just her imagination, and then halts to a stop again.
(EXTREME CLOSE-UP OF HER EYES, FLAT ANGLE)(STEADY CAM, WOBBLING A LITTLE)(MUSIC HAS DIED OUT COMPLETELY, HER HARSH BREATH IS ALL THATS TO BE HEARD)
(CLOSE-UP OF THE BACK OF THE GIRLS HEAD AND HALF OF THE MASK INFRONT OF HER, LOW ANGLE)(STATIC)She spins around again, and comes face to face with a featureless mask. (SCREAM)
(LONG SHOT, HIGH ANGLE)(TILT DOWN)Girl wakes up suddenly with a scream, and looks around frantically - only to find that she's in her classroom.
(MID SHOT, FLAT ANGLE)(PANS ACROSS TO SEE THE LINE OF STUDENTS LOOKING BACK AT HER)Everyone is looking at her, shocked and confused.
(EXTREME CLOSE UP OF HER EYES)(ZOOMS OUT)(LONG SHOT)
THE END.
Friday, 30 December 2011
Thursday, 29 December 2011
End Of Term Summary (individual).
Personally, I feel as though our group has progressed in terms of work and quality - because our failures have helped ensure that we wouldnt make the same mistake.
However, over the term, it's quite clear that our team are lacking in communication and general understanding, which leads to confusion and more problems - and this, I'm determined to change next term; because as a group, its crucial that we understand eachother and are discussing things to their full potential.
I feel that this term I have coped with the on-going stress of work and deadlines awfully, and it's reflected in my work. My time-management and organisation is poor, and needs a lot of work in order to keep up with everyone else, and to bring the quality of my work up to more than a satisfactory level. For example, using different materials when I update my blog, instead of just writing it all up - this will expand both my experience of using the blog, and will demonstrate the diversity of ways that I can communicate my idea's/progress.
Next term, as a member of my group, I will encourage more fluent discussions and will try and set a boundary for everyone to be reminded of what is to be done, and to spread the work evenly so no individual person has more than anyone else.
Also, as an individual, I'll try and manage my time more proffessionally and organise my blog to an understandable quality.
However, over the term, it's quite clear that our team are lacking in communication and general understanding, which leads to confusion and more problems - and this, I'm determined to change next term; because as a group, its crucial that we understand eachother and are discussing things to their full potential.
I feel that this term I have coped with the on-going stress of work and deadlines awfully, and it's reflected in my work. My time-management and organisation is poor, and needs a lot of work in order to keep up with everyone else, and to bring the quality of my work up to more than a satisfactory level. For example, using different materials when I update my blog, instead of just writing it all up - this will expand both my experience of using the blog, and will demonstrate the diversity of ways that I can communicate my idea's/progress.
Next term, as a member of my group, I will encourage more fluent discussions and will try and set a boundary for everyone to be reminded of what is to be done, and to spread the work evenly so no individual person has more than anyone else.
Also, as an individual, I'll try and manage my time more proffessionally and organise my blog to an understandable quality.
Treatment Pitch - Thriller feedback.
After our treatment pitch, it was clear that we wasn't ready to move forward in our project, and this was for multiple reasons. Firstly, we didn't plan our treatment pitch very well - resulting in contradicting features, secondly, we lacked enough research of the genre, and therefore knew a limited amount about what to do and how to stick to the conventions. Thirdly, our idea seemed more like a horror, as we'd simply assumed that the conventions were similar, and lastly, our idea was too stereotypical and was something that everyone would expect - this would make our idea seem ammiture.
So, our group was facing two options; either we stock up on research and strengthen/change our idea, or we change our genre completely and start from scratch.
Finally, after our group sat down and discussed what the best possible option was, and at last we decided to start fresh and chose a new genre to work on. One, this time, that we were more familiar and comfortable to work with.
We then appointed each person in our group to a certain genre (not including thriller or horror) and set the task of researching the given genre, to then present to the group.
The genre I was appointed to was romantic comedy (rom-com) and I'll research it, with a few idea's of my own to then present to the rest of my group.
After each of us have presented our genre, as a group - we'll decide which one was best, and we'll expand on it.
Our treatment pitch was definitely beneficial to our group, as everything that we didn't do for our Thriller research, we'll be sure to include and expand on our new chosen genre.
So, our group was facing two options; either we stock up on research and strengthen/change our idea, or we change our genre completely and start from scratch.
Finally, after our group sat down and discussed what the best possible option was, and at last we decided to start fresh and chose a new genre to work on. One, this time, that we were more familiar and comfortable to work with.
We then appointed each person in our group to a certain genre (not including thriller or horror) and set the task of researching the given genre, to then present to the group.
The genre I was appointed to was romantic comedy (rom-com) and I'll research it, with a few idea's of my own to then present to the rest of my group.
After each of us have presented our genre, as a group - we'll decide which one was best, and we'll expand on it.
Our treatment pitch was definitely beneficial to our group, as everything that we didn't do for our Thriller research, we'll be sure to include and expand on our new chosen genre.
Focus Group Questions.
1. What is your age?
2. What is your favourite genre?
3. Give an example of this genre.
4. Why do you enjoy this genre most?
5. In terms of a rom-com, what do you expect to see?
- brief explanation of our idea -
6. What do you like about our idea?
7. What could we alter/improve about our idea?
8. Do you like the idea of two people who contrast/two extremes being together?
9. Would you rather a happy ending, or a realisic ending?
10. What do you look for in an opening sequence of a film, to keep you interested?
11. Would you watch our opening sequence?
12. Any further questions/comments?
2. What is your favourite genre?
3. Give an example of this genre.
4. Why do you enjoy this genre most?
5. In terms of a rom-com, what do you expect to see?
- brief explanation of our idea -
6. What do you like about our idea?
7. What could we alter/improve about our idea?
8. Do you like the idea of two people who contrast/two extremes being together?
9. Would you rather a happy ending, or a realisic ending?
10. What do you look for in an opening sequence of a film, to keep you interested?
11. Would you watch our opening sequence?
12. Any further questions/comments?
Rom-Com Research.
Pretty Woman (1990).
Pretty Woman is exactly like our idea, but with opposing features.
For example, our idea of a homeless man, meeting a successful business woman is contrasted by Pretty Woman's feature of the woman being poor (and resorting to prostitution) and the man holds a successful and highly respectable role in his business. So the character roles are switched, but are similar in circumstances.
Pretty Woman (1990) is a well-known blend of romance and comedy, captured by Julia Roberts (Vivian Ward) and Richard Gere (Edward Lewis) who play the two leading roles.
Plot
My Big Fat Greek Wedding (2002).
My Big Fat Greek Wedding starrs Nia Vardalos (Toula Portokalos) and John Corbett (Ian Miller) who fall in love under unlikely circumstances.
Plot
30 year old Toula Portokalos lives at home with her large Greek family, who are loud, bold and strong on their religion and influence of others. All the while, un-married, un-desirable and shows no confidence in herself, Toula feels like she's aged before her time.
Ian Miller however, is confident, desirable and although constantly dating women with the potebtial for marriage, he feels unfulfilled.
The two meet unexpectedly in Toula's family resturant 'Dancing Zorbas' as Toula goes to serve the customers and take their order, she finds herself gawping Ian. It's a classic 'love at first sight' moment, as Ian spots her staring and is quite taken back by the stranger. Toula babbles on in her desperate attempt to make a good first impression, but only makes a fool of herself as she sinks back into herelf despair.
Toula decides to d something with her life, and after family debating and objection to such a thing, she attends a University nearby to learn about computers for their business. Throughout this, she builds confidence and grows comfortable with who she is, and finds herself happy. Taoula and Ian meet again, and not recognising who she is (because of the transformation) and asks her out to dinner, and it is there that she reveals her true identity of the nerdy waitress - however Ian doesnt care.
Their relationship develops, and the two find themselves falling in love - but with a price. Their contrasting families know nothing of their relationship, and eventually Toula's loud religious family welcome Ian's small, quiet athiest family into theirs. As Ian is baptised, the wedding plans are set in concrete and they are married. They live happily ever after and teach their children to do whatever they want with their future, instead of conforming to what they are told to believe in.
Simularities with our idea...
1. Transformation in both personal identity, image, confidence, status, situation etc.
2. Contrasting people beating the unlikelyhood that they'll never be together.
3. 'Love at first sight' represented.
4. Judgement on image, values, religion and status.
5. Happy Ending.
6. Overcoming problems, regaining what they lost/missed.
7. Conquering the odds and showing that when in love, situations do not matter.
8. Representing how people (in this case, religious families) are extremely influencial on their culture and insist on everything remaining traditional.
9. Showing progress and valuing what they have, instead of what they dont (appreciation).
10. Acceptance of who people are.
11. Encouraging equality and personal growth.
Maid In Manhattan (2002)
Maid In Manhattan starrs Jennifer Lopez (Marisa Ventura) and Ralph Fiennes (Christopher Marshall) in a fun-packed romantic comedy, tugs on heart strings, aswell as funny bones.
Plot.
Marisa Ventura is a single mother, working as a maid in a first-class hotel - a twist of fate, and mistaken identity bring her face to face with successful businessman and soon-to-be billionnaire Christopher Marshall, who automatically assumes she is a guest at the hotel. When her true identity is revealed, they discover that they are worlds apart, not only in the financial world - but in opinion and belief. However, these set-backs are no match for the undying love that they both feel for one and another. As they both jeapodise their jobs and their background, they conquer their differences in order to be together. And Marisa finds herself living the 'fairytale' lifestyle that she's seen many women come and go with, while still holding her bonds with her own background.
Similarities to our idea..
1. Happy ending.
2. Distance between two people, financially, ethically etc.
3. Visual metaphor's - hotel a metaphor for the foundation of life/love, different levels/rooms all costing different amounts.
4. Two contrasting characters battling the force seperating them.
5. Change/progress of someone's life/situation.
6. Seeing different perspectives of life, and understanding them.
7. Stereotypes portrayed.
8. Money, in competition with love, is nothing.
Feedback from research..
After researching these differenr Rom-Coms, I've identified the simularities between their idea and our's. I also noticed that many of the similarities are the same, which is perhaps the reason why these productions were so successful. Therefore, throughout the further stages of this project - I intend to refer back to these as a guideline/header to what we should achieve/include also.
Pretty Woman is exactly like our idea, but with opposing features.
For example, our idea of a homeless man, meeting a successful business woman is contrasted by Pretty Woman's feature of the woman being poor (and resorting to prostitution) and the man holds a successful and highly respectable role in his business. So the character roles are switched, but are similar in circumstances.
Pretty Woman (1990) is a well-known blend of romance and comedy, captured by Julia Roberts (Vivian Ward) and Richard Gere (Edward Lewis) who play the two leading roles.
Plot
Successful businessman, Edward Lewis searches for an escort to accompany him throughout his business trip (as men of his class are not reguarly seen unaccompanied by a woman) - and in the midst of his search, he comes across a witty yet self reserved prostitute, Vivian Ward. Edward offers her a staggering amount of money for her company during the week, and Vivian accepts. As Vivian slowly learns the ways of being rich and resembling a 'respectable' woman, she still witholds her unique humour, and her objective to never fall in love. Despite this, as the week draws to an end, the two compress love for one and another and finally tell eachother. Edward offers Vivian an apartment in the city where he would visit reguarly - but Vivian refuses, because she wants 'the fairtale' she's always wanted, and at the end of the week - she leaves. Edward performs 'the fairytale' the day after, as he delays his plane and seeks to rescue Vivian from her regular life.
Simularities with our idea..
1. The two characters appose, therefore adding to the unlikelyhood that they'd ever be together.
2. (Like every plot; however maybe not in the same order) Long-term problem, small problem develop, small problem solved, long-term problem resolved.
3. Both resistant to their feelings (dont want to be vulnerable) - personal status may be in partnership with this.
4. Happy ending.
5. Light, funny kicks to release tension.
6. Realistic background (judgement of prostitution/expectations of successful men).
7. Appreciation of what they have, and acceptance of what they dont - long-term understanding.
8. Stereotypes portrayed excellently in that they all reflect the harshness of reality (prostitution frowned upon and often result in de-grading. All men care about is money and their image. Women should reflect/represent the men by being respectful.) And yet all of these stereotypes are broken by the end, to show that anyone can refuse stereotypical behaviour.
9. Beginning; looking for something/missing something. End; found/replaced by something.
10. Transformation in image, confidence, status, situation etc.
Simularities with our idea..
1. The two characters appose, therefore adding to the unlikelyhood that they'd ever be together.
2. (Like every plot; however maybe not in the same order) Long-term problem, small problem develop, small problem solved, long-term problem resolved.
3. Both resistant to their feelings (dont want to be vulnerable) - personal status may be in partnership with this.
4. Happy ending.
5. Light, funny kicks to release tension.
6. Realistic background (judgement of prostitution/expectations of successful men).
7. Appreciation of what they have, and acceptance of what they dont - long-term understanding.
8. Stereotypes portrayed excellently in that they all reflect the harshness of reality (prostitution frowned upon and often result in de-grading. All men care about is money and their image. Women should reflect/represent the men by being respectful.) And yet all of these stereotypes are broken by the end, to show that anyone can refuse stereotypical behaviour.
9. Beginning; looking for something/missing something. End; found/replaced by something.
10. Transformation in image, confidence, status, situation etc.
My Big Fat Greek Wedding (2002).
My Big Fat Greek Wedding starrs Nia Vardalos (Toula Portokalos) and John Corbett (Ian Miller) who fall in love under unlikely circumstances.
Plot
30 year old Toula Portokalos lives at home with her large Greek family, who are loud, bold and strong on their religion and influence of others. All the while, un-married, un-desirable and shows no confidence in herself, Toula feels like she's aged before her time.
Ian Miller however, is confident, desirable and although constantly dating women with the potebtial for marriage, he feels unfulfilled.
The two meet unexpectedly in Toula's family resturant 'Dancing Zorbas' as Toula goes to serve the customers and take their order, she finds herself gawping Ian. It's a classic 'love at first sight' moment, as Ian spots her staring and is quite taken back by the stranger. Toula babbles on in her desperate attempt to make a good first impression, but only makes a fool of herself as she sinks back into herelf despair.
Toula decides to d something with her life, and after family debating and objection to such a thing, she attends a University nearby to learn about computers for their business. Throughout this, she builds confidence and grows comfortable with who she is, and finds herself happy. Taoula and Ian meet again, and not recognising who she is (because of the transformation) and asks her out to dinner, and it is there that she reveals her true identity of the nerdy waitress - however Ian doesnt care.
Their relationship develops, and the two find themselves falling in love - but with a price. Their contrasting families know nothing of their relationship, and eventually Toula's loud religious family welcome Ian's small, quiet athiest family into theirs. As Ian is baptised, the wedding plans are set in concrete and they are married. They live happily ever after and teach their children to do whatever they want with their future, instead of conforming to what they are told to believe in.
Simularities with our idea...
1. Transformation in both personal identity, image, confidence, status, situation etc.
2. Contrasting people beating the unlikelyhood that they'll never be together.
3. 'Love at first sight' represented.
4. Judgement on image, values, religion and status.
5. Happy Ending.
6. Overcoming problems, regaining what they lost/missed.
7. Conquering the odds and showing that when in love, situations do not matter.
8. Representing how people (in this case, religious families) are extremely influencial on their culture and insist on everything remaining traditional.
9. Showing progress and valuing what they have, instead of what they dont (appreciation).
10. Acceptance of who people are.
11. Encouraging equality and personal growth.
Maid In Manhattan (2002)
Maid In Manhattan starrs Jennifer Lopez (Marisa Ventura) and Ralph Fiennes (Christopher Marshall) in a fun-packed romantic comedy, tugs on heart strings, aswell as funny bones.
Plot.
Marisa Ventura is a single mother, working as a maid in a first-class hotel - a twist of fate, and mistaken identity bring her face to face with successful businessman and soon-to-be billionnaire Christopher Marshall, who automatically assumes she is a guest at the hotel. When her true identity is revealed, they discover that they are worlds apart, not only in the financial world - but in opinion and belief. However, these set-backs are no match for the undying love that they both feel for one and another. As they both jeapodise their jobs and their background, they conquer their differences in order to be together. And Marisa finds herself living the 'fairytale' lifestyle that she's seen many women come and go with, while still holding her bonds with her own background.
Similarities to our idea..
1. Happy ending.
2. Distance between two people, financially, ethically etc.
3. Visual metaphor's - hotel a metaphor for the foundation of life/love, different levels/rooms all costing different amounts.
4. Two contrasting characters battling the force seperating them.
5. Change/progress of someone's life/situation.
6. Seeing different perspectives of life, and understanding them.
7. Stereotypes portrayed.
8. Money, in competition with love, is nothing.
Feedback from research..
After researching these differenr Rom-Coms, I've identified the simularities between their idea and our's. I also noticed that many of the similarities are the same, which is perhaps the reason why these productions were so successful. Therefore, throughout the further stages of this project - I intend to refer back to these as a guideline/header to what we should achieve/include also.
Sunday, 18 December 2011
Gangster Film Research & Ideas.
Today, we were shown the opening sequences of two gangster movies, and we were asked to record how camera, mise-en-scene, editing/special effects and sound were used to enhance the genre.
We first watched the opening sequence to 'The Godfather' (1972) - until 2 minutes, 50 seconds in ;
I observed that the use of the backward-creep (camera) doesnt reveal the 'Godfather's' face, or identity - leaving him completely anonymous to the audience; which adds to his devious reputation. Also, dark lighting demonstrates the aggressive nature of both the conversation, and the film itself. Mise-en-scene compliments the lighting, in that dark costumes such as black suits are used, and also descreet settings are presented perhaps as a visual metaphor to demonstrate the secracy/privacy of the situation.
Our second opening sequence was 'Goodfellas' (1990) -until 2 minutes, 5 seconds in;
After watching this opening sequence, I took note that the lighting (similar to 'The Godfather's' opening sequence) was dark and dangerous, which again; suggested the further events to come to be just as dark/dangerous. The use of the voice-oever at the end, gives the main charactor (Ray Liotta) an identity, perhaps a more reliable one than the other gangmembers, who remain unrelatable to the audience. Again, mise-en-scene consisted of dark suits, that connote business and proffessionalism - which was used also in 'The Godfather's' opening sequence. Camera angles/shots/movement varied from shot-reverse-shot, to long shot - all to give the audience a full view of what is happening, and also to involve them in the story; this encourages them to continue watching.
Further research..
For further research, I watched three more gangster opening sequences and trailers - just to fully grasp the conventions/features of a gangster movie.
These gangster films were; 'Casino' (1995), 'Donnie Brasco' (1997) and 'The Departed' (2006).
Here is the trailer for 'Casino' (1995);
Throughout this trailer, I spotted that the two main charactors, also starred in 'Goodfella's' - Robert De Niro, and Joe Pesci - which infers that these two actors are commonly associated with gangster movies, and when the audience see them, they'll instantly think of their past films together that were successful, and would be more encouraged to watch it.
I also noticed a pattern in costume, as most of the cast are wearing suits and are dressed respectfully, again enhancing their image of powerful and proffessional; and also connoting wealth and high status.
Special effects such as car explosions and bombs heighten the intensity and adrenaline that the film produces, and also entices the audience to watch it, as the special effects make it interesting - and keeps them on the edge of their seat.
Voiceovers again give certain characters an identity, as part of their narrative taken from the actual film is played over the trailer - this gives a personal touch to it, which again, strengthens the importance of the narrative/film.
The second opening sequence that I watched, was 'Donnie Brasco' (1997) ;
This opening sequence was set apart from the rest, in the aspect that the storyline is more detective-based and perhaps more involving of personal relationships, than it is agressiveness and gang violence.
However, the pattern of mise-en-scene still occurs, as suits are seen, alchohol being drunk casually and goods being sold/stolen openly.
Lighting is diverse and more lighted than the other sequences that I've explored above, and its a clear seperation between daytime and nighttime - also, inside bars/resturants/gyms lighting is varied according to the mood/atmosphere - this can also foreshadow what is about to happen. For example, if its dark lighting - then something bad is likely to happen.
In the beginning, the main actor (Johnny Depp) is seen in deep-thought, while different clips and images form a montage, this encapsulates the thoughts and feelings of the character, and prove to be quite complex - but all the same draw in the audience.
Another pattern seems to have erupted, as I've noticed that mostly all of the characters speak with dark and unsettling tones of voice, and often with an accent - that being American, or (a British) cockney, or (Mafia films) Italian accents. This can be seen as a form of race/identity that seperates them from other gangs/groups.
The last opening sequence that I watched was 'The Departed' (2006);
This opening sequence carried out the same pattern as the others, in that the voiceover narrated his side of the story, his personal take on things - giving the audience a sense of his identity. Overal the character was the typical 'badguy' by the way he bullied locals, and mocked them; knowing that they couldn't stand against him.
However, suits and proffessional costumes are not present in this sequence, I believe, for two reasons; - the first being that this film was released in 2006, and the traditional gangster take on things wasnt used as frequently, as a more modern take was used instead. Which shows how gangsters changed/progressed through time and became more modern. And secondly, it could be used as a false image of the character, meaning that his casual jeans and shirt portrayed inncoence and a neutral vibe - whereas, looking indepth, and listening to his narrative (voiceover in the beginning) we know that he is indeed the 'badguy'.
Similar to 'Donnie Brasco' - the opening sequence features a montage of different images and clips - to show the passing of time/development/downfall of the nation/area; with narrative played over it, to direct the audience.
Camera movement follows the main charactor, almost to the extent of point-of-view, until the camera performs a backwards-creep, and reveals the main charactor infront. This was used so that the audience could clearly see how people feared/respected him by the way they looked in the camera's direction with worried expressions.
Overall, I've gathered a range of information about gangster films, and the conventions that they stick to;
- (depending on the period of time) Suits and proffessional costumes are used.
- Local settings such as bars,casino's,gyms -- or private settings, such as private bars, offices, secret locations.
- Constant inferation of money/power/high status.
- Violence/aggressiveness/malitious behaviour or speech.
- Voiceovers.
- Montages.
- Camera shots/movement/angles; track (following action/actors) and pan (moving left to right).
- Significant roles of power/leadership.
- Accents.
- Weaponry such as guns, knives, baseball bats etc.
- Alcohol being commonly drunk, bars,casino's,offices.
- Dark lighting, saturated colours.
We first watched the opening sequence to 'The Godfather' (1972) - until 2 minutes, 50 seconds in ;
I observed that the use of the backward-creep (camera) doesnt reveal the 'Godfather's' face, or identity - leaving him completely anonymous to the audience; which adds to his devious reputation. Also, dark lighting demonstrates the aggressive nature of both the conversation, and the film itself. Mise-en-scene compliments the lighting, in that dark costumes such as black suits are used, and also descreet settings are presented perhaps as a visual metaphor to demonstrate the secracy/privacy of the situation.
Our second opening sequence was 'Goodfellas' (1990) -until 2 minutes, 5 seconds in;
After watching this opening sequence, I took note that the lighting (similar to 'The Godfather's' opening sequence) was dark and dangerous, which again; suggested the further events to come to be just as dark/dangerous. The use of the voice-oever at the end, gives the main charactor (Ray Liotta) an identity, perhaps a more reliable one than the other gangmembers, who remain unrelatable to the audience. Again, mise-en-scene consisted of dark suits, that connote business and proffessionalism - which was used also in 'The Godfather's' opening sequence. Camera angles/shots/movement varied from shot-reverse-shot, to long shot - all to give the audience a full view of what is happening, and also to involve them in the story; this encourages them to continue watching.
Further research..
For further research, I watched three more gangster opening sequences and trailers - just to fully grasp the conventions/features of a gangster movie.
These gangster films were; 'Casino' (1995), 'Donnie Brasco' (1997) and 'The Departed' (2006).
Here is the trailer for 'Casino' (1995);
Throughout this trailer, I spotted that the two main charactors, also starred in 'Goodfella's' - Robert De Niro, and Joe Pesci - which infers that these two actors are commonly associated with gangster movies, and when the audience see them, they'll instantly think of their past films together that were successful, and would be more encouraged to watch it.
I also noticed a pattern in costume, as most of the cast are wearing suits and are dressed respectfully, again enhancing their image of powerful and proffessional; and also connoting wealth and high status.
Special effects such as car explosions and bombs heighten the intensity and adrenaline that the film produces, and also entices the audience to watch it, as the special effects make it interesting - and keeps them on the edge of their seat.
Voiceovers again give certain characters an identity, as part of their narrative taken from the actual film is played over the trailer - this gives a personal touch to it, which again, strengthens the importance of the narrative/film.
The second opening sequence that I watched, was 'Donnie Brasco' (1997) ;
This opening sequence was set apart from the rest, in the aspect that the storyline is more detective-based and perhaps more involving of personal relationships, than it is agressiveness and gang violence.
However, the pattern of mise-en-scene still occurs, as suits are seen, alchohol being drunk casually and goods being sold/stolen openly.
Lighting is diverse and more lighted than the other sequences that I've explored above, and its a clear seperation between daytime and nighttime - also, inside bars/resturants/gyms lighting is varied according to the mood/atmosphere - this can also foreshadow what is about to happen. For example, if its dark lighting - then something bad is likely to happen.
In the beginning, the main actor (Johnny Depp) is seen in deep-thought, while different clips and images form a montage, this encapsulates the thoughts and feelings of the character, and prove to be quite complex - but all the same draw in the audience.
Another pattern seems to have erupted, as I've noticed that mostly all of the characters speak with dark and unsettling tones of voice, and often with an accent - that being American, or (a British) cockney, or (Mafia films) Italian accents. This can be seen as a form of race/identity that seperates them from other gangs/groups.
The last opening sequence that I watched was 'The Departed' (2006);
This opening sequence carried out the same pattern as the others, in that the voiceover narrated his side of the story, his personal take on things - giving the audience a sense of his identity. Overal the character was the typical 'badguy' by the way he bullied locals, and mocked them; knowing that they couldn't stand against him.
However, suits and proffessional costumes are not present in this sequence, I believe, for two reasons; - the first being that this film was released in 2006, and the traditional gangster take on things wasnt used as frequently, as a more modern take was used instead. Which shows how gangsters changed/progressed through time and became more modern. And secondly, it could be used as a false image of the character, meaning that his casual jeans and shirt portrayed inncoence and a neutral vibe - whereas, looking indepth, and listening to his narrative (voiceover in the beginning) we know that he is indeed the 'badguy'.
Similar to 'Donnie Brasco' - the opening sequence features a montage of different images and clips - to show the passing of time/development/downfall of the nation/area; with narrative played over it, to direct the audience.
Camera movement follows the main charactor, almost to the extent of point-of-view, until the camera performs a backwards-creep, and reveals the main charactor infront. This was used so that the audience could clearly see how people feared/respected him by the way they looked in the camera's direction with worried expressions.
Overall, I've gathered a range of information about gangster films, and the conventions that they stick to;
- (depending on the period of time) Suits and proffessional costumes are used.
- Local settings such as bars,casino's,gyms -- or private settings, such as private bars, offices, secret locations.
- Constant inferation of money/power/high status.
- Violence/aggressiveness/malitious behaviour or speech.
- Voiceovers.
- Montages.
- Camera shots/movement/angles; track (following action/actors) and pan (moving left to right).
- Significant roles of power/leadership.
- Accents.
- Weaponry such as guns, knives, baseball bats etc.
- Alcohol being commonly drunk, bars,casino's,offices.
- Dark lighting, saturated colours.
Friday, 16 December 2011
Tuesday, 13 December 2011
Questionnaire Feedback.
After viewing our questionnaire, as a group, we sat down and discussed exactly what we would do to follow what the audience wanted.
This included the fact that many of the audience members who enjoyed Rom-Coms and visited cinema regularly were female. However, we didn't let this information limit our audience gender; as we intended to influence mainly females, and partly males. Therefore, more feminine features, such as feminine-styled scenes would appeal to them; such as more feminine songs/feminine ideas. We decided that we would include pop music whenever we could, to get a positive/negative/comical mood (depending on what has happened in the sequence) and also to interest the audience, as 14 out of the 15 that liked our genre, also liked pop music.
In terms of advertising - according to the result of the questionnaire; people found billboards, TV advertisements and cinema trailers most affective. This was useful information, and will, no doubt be helpful in the future - but for now, because we don't have that power/authority to advertise to that standard/size - simple posters/trailers and reviews will be our advertising techniques.
This included the fact that many of the audience members who enjoyed Rom-Coms and visited cinema regularly were female. However, we didn't let this information limit our audience gender; as we intended to influence mainly females, and partly males. Therefore, more feminine features, such as feminine-styled scenes would appeal to them; such as more feminine songs/feminine ideas. We decided that we would include pop music whenever we could, to get a positive/negative/comical mood (depending on what has happened in the sequence) and also to interest the audience, as 14 out of the 15 that liked our genre, also liked pop music.
In terms of advertising - according to the result of the questionnaire; people found billboards, TV advertisements and cinema trailers most affective. This was useful information, and will, no doubt be helpful in the future - but for now, because we don't have that power/authority to advertise to that standard/size - simple posters/trailers and reviews will be our advertising techniques.
Questionnaire Results.
QUESTIONNAIRE RESULTS.
Our questionnaire proved highly useful in that we've learnt a lot about our audience.
We've found out that;
. 19 people of the 29 (15 - 20year olds) go to cinema regularly.
. Of the 19 people that go to cinema regularly, 14 of them are female.
. 15 out of 29 people would enjoy watching our Rom-Com sequence.
. People mostly enjoy Rom-Coms because they're a great blend of two genres, it makes them laugh, it makes them feel good about themselves and it's enjoyable to watch.
. 14 of the 15 people that enjoy Rom-Com, also enjoyed pop music.
. The most useful advertisement strategies were TV adverts, cinema trailers and billboards.
| Gender | Age | Visit to the cinema | Ethnicity | Most liked genre | Why they like this genre | Best music genre | Advertisement | Occupation |
| Female | 15 | Regularly | Black British | Bridget Jones diary/rom com | Because its really funny | Pop | Billboards/ TV adverts | School |
| Female | 15 | Regularly | White | Bridget Jones diary /rom com | It was really entertaining | Pop | Cinema adverts/billboards/ transport billboards | School |
| Female | 15 | Often | White British | Cat woman/action | It made me feel like I was cat woman | Rnb | Billboards/ TV adverts | School |
| Male | 15 | Regularly | White british | Bridget Jones diary /rom com | It was hilarious | Pop | Billboards/ TV adverts | School |
| Male | 15 | Regularly | Black british | Mission impossible/ action | Really suprising | Grime | Cinema adverts/billboards/ transport billboards | School |
| Female | 16 | Often | White british | Big momma house/ comedy | It is just so funny | Pop | Cinema adverts/billboards/ transport billboards/ tv adverts | School |
| Female | 16 | Regularly | Black british | Bridget Jones diary /rom com | They are funny | Pop | Cinema adverts/billboards/ transport billboards/ tv adverts | School |
| Female | 16 | Sometimes | Black british | Big momma house/ comedy | They are really funny | Jazz/classical | Cinema adverts/billboards/ transport billboards/ tv adverts | School |
| Male | 16 | Regularly | White british | Bridget Jones diary /rom com | They just make me laugh so much | Pop | Billboards/ TV adverts | School/work |
| Male | 16 | Often | White british | Mission impossible/ action | They are really entertaining | Rnb | Billboards/ TV adverts | School |
| Female | 17 | Regularly | White british | Big momma house/ comedy | So funny | Pop | Cinema adverts/billboards/ transport billboards/ tv adverts | School |
| Female | 17 | Regularly | Black british | Bridget Jones diary /rom com | Really funny | Pop | Cinema adverts/billboards/ transport billboards/ tv adverts | School/work |
| Male | 17 | Regularly | White british | Mission impossible/ action | They have a lot of actions | Rnb | Cinema adverts/billboards/ transport billboards/ tv adverts | School work |
| Male | 17 | Often | Black british | Bridget Jones diary /rom com | They are unrealistic | Pop | Billboards/ TV adverts | School/work |
| Male | 17 | Regularly | White british | Harry brown/thriller | Thrilling | Grime | Billboards/ TV adverts | School |
| Male | 17 | Often | Black british | Big momma house/ comedy | Funny | Rnb | Billboards/ TV adverts | School/work |
| Female | 18 | Often | White british | Bridget Jones diary /rom com | Its really entertaining | pop | Billboards/ TV adverts | School/work |
| Female | 18 | Regularly | Black british | Bridget Jones diary /rom com | Its so funny | Pop | Billboards/ TV adverts | School |
| Female | 18 | Often | White | Big momma house/ rom com | Its just something that lets you forget bout serious things | Pop | transport billboards/ tv adverts | School/ work |
| female | 18 | Regularly | Black british | Mission impossible/ action | See as potential role model | Grime | Internet teasers/billboards | School |
| female | 18 | Regularly | White british | The 40 year old virgin/ rom com | Its really funny | Pop | Newspaper television/ advertisement | School |
| female | 18 | Regularly | Other | The 40 year old virgin/ rom com | Its really entertaining | Indie | Television advertisement/ billboards/ transport adverts | School |
| male | 18 | Often | White british | Me myself and irene/comedy | Its so funny | Pop | Television advertisement/transport advert | School |
| Male | 18 | Regularly | Black british | The 40 year old virgin/ rom com | Its really entertaining and funny | Pop | television advertisement/ billboards/ transport adverts | School |
| Male | 18 | Regularly | White british | Me myself and irene/comedy | I like to laugh | Pop | Cinema adverts/television advert/ | School/work |
| Male | 18 | often | White british | The 40 year old virgin/ rom com | This movie has a lot of funny elements | Rnb | television advertisement/ billboards/ transport adverts | School |
| Female | 19 | Often | Black | The 40 year old virgin/ rom com | Its funny | Pop | Cinema advert | School |
| Female | 20 | Often | White british | The 40 year old virgin/ rom com | They are really funny | Pop | television advertisement/ billboards/ transport adverts | school/work |
| Female | 20 | Regularly | Black british | Mission impossible/ action | Really intense | Rnb | Television adverts/ cinema advets | Work |
Our questionnaire proved highly useful in that we've learnt a lot about our audience.
We've found out that;
. 19 people of the 29 (15 - 20year olds) go to cinema regularly.
. Of the 19 people that go to cinema regularly, 14 of them are female.
. 15 out of 29 people would enjoy watching our Rom-Com sequence.
. People mostly enjoy Rom-Coms because they're a great blend of two genres, it makes them laugh, it makes them feel good about themselves and it's enjoyable to watch.
. 14 of the 15 people that enjoy Rom-Com, also enjoyed pop music.
. The most useful advertisement strategies were TV adverts, cinema trailers and billboards.
Thursday, 1 December 2011
'Let The Right One In' study notes.
'Let The Right One In' study notes.1. I enjoy horror movies to a great extent because they have a significant affect on me, and I find them interesting - so yes, I would indeed consider myself a horror fan.
This identity does not guarantee equal access to various other films around the world, as subtitles can limit comfort and connection with the film, and the characters presented in them. Personally, I watch films (of any genre) to escape from reality (Blumler & Katz Theory; Diversion) - stress, and all other complications; furthermore, having to read subtitles constantly can suppress this feeling of freedom, as I'm still under some sort of pressure to read the script, and keep up. Secondly, as the audience is of another language/culture/ethnicity to those represented in the film, they cant fully grasp the emotion and tone of their voice when saying specific words with emphasis - as we're only reading passive words. This can jeopardise the emotional connection between the audience and the characters.
2. The trailer that I watched encouraged me as an audience member to watch the film in a cinema, as, on a whole, it came across in a chilling tone. This infers that the movie itself requires a fixed amount of focus and emotional input in order to grasp the movie's full potential - therefore condoning that seeing it in the cinema (a highly closed in/tight atmospheric environment) will ensure this.
Also, on the a scale of general interest - 'Let The Right One In' represents vampires in a completely different sighting, as opposed to the traditional representation that the audience is already aware of. For example, vampires are supposedly all-evil creatures that cling to life, metaphorically; in that they want to live again. And physically; in that they feed on human blood. This is clearly shown throughout the trailer, but in a more sensitive and prevailed way (she doesn't seem all-evil - she expresses an in depth admiration for the human boy, which separates her from the traditional theory.) Thirdly, the trailer contains elements of other genres, but mixed with a dark signature tone; for example, romance is presented but with a dark and complex twist. All of these features encourage the audience to see it in the cinema, as there is a lot to take on board throughout the film and watching it at home (on DVD/video) wont be as fulfilling/entertaining/grasping/moving as it would in the cinema.
3. The horror conventions that I'm familiar with, consist of -
- Shadowy, dark settings - often that juxtapose the initial ending, (example, location/setting - graveyard; connotes death and misery)
- Trademark killing/tool used for killing clearly identified, (example, cause of death; strangled, stabbed, cut throat e.c.t. - tool used for killing/maiming; claw, hook, knife e.c.t.) somewhat signiture killing (sense of identity)
- Use of dark/black colour schemes, gothic, (example, dark clothing/scenery/lighting e.c.t.)
- Victims often background people, not of high importance but still are exposed with a sense of innocence and neutrality.
- Blood, vulgar scenes, gory.
- A perversion of innocence, whether that be an object, saying, lifestyle, clothing... (for example, a teddy bear, keys, jewelry e.c.t)
- Reasonable sense of good and evil, allows the audience to build an idea of the structure and plot of the film - also it leads them to question the characters and their alignment.
Throughout the film, a few of my idea's on the horror convention were shown, however, obviously, through various methods to suit the plot/structure of the film.
For example, the idea of a trademark killing or method of killing was shown - this being that the vampire girl (Eli) leaves all of her victims with the same signiture bite mark on their neck (after she's drunk their blood). Thisseperates her from reality, as any other regular human, would kill with more manifactured tools, such as a knife/gun.
Also, throughout the film, the use of dark, or black saturated colour schemes were frequently used, as Eli could only come out at night as not to risk exposure of the sun (results in horiffic death) - therefore, mainly, the film is frequently enshrouded in darkness (night).
The use of the Rubix Cube, could relate to my idea of perversion of innocence as its a symbol of reality and childish interests - which brings us back to fact that the main characters are children (children infer innocence, life and neutrality) but given their contrasting circumstances, that innocence is shadowed. This is generated by two situations, the first; the innocence of children isn't shown through act's of bullying that Oskar tolerates. The second, mainly, being that Eli, a young child herself, is playing the role of a vampire (evil).
Different approaches are shown in the film, such as the uncertainty of good and evil - this was perhaps purposeful as to lead the audience through twists and turns of the plot. Also, it could be for the audience tomake their own assumptions of the characters; this allows them to make their own judgement on the structure, which engages the audience to take part.
4. The sense of Eli and Oskar being 'outsiders' visually is shown through a scene where the audience is looking through both Eli's bedroom window and Oskar's (split scene intention, but windows are close enough to get in the same shot.) In this scene, the windows could be visual metaphors for their lives, and how they feel closed in and somewhat iscolated from everyone else, also - it can make the audience feel like they're looking past the fake image that society enforces on them, and focuses on who they really are as individuals. Eli's window is blurred out, and she is heard arguing with her father, darks shadows infer movement behind the window. The fact that Eli's window is blurred could connote her secret is a blurring factor which makes you see her in a different way to anyone else, also - it could suggest that she, as a character, is undefined and confused. Oskar's window however is clear, which could represent his innocence and purity, secondly it could suggest that he (compared to Eli) is a less complex charactor with no extreme secrets that would change the way you see him. Oskar is listening to Eli and her father arguing on the other side of the wall, which suggests his genuine interest in Eli and her personal life. However, the wall beween them could represent how their contrasting fates can seperate them. Mise-en-scene also contributes to their label 'outsiders' as they both wear generally dark clothing, and at times are seen with barely any clothing - this gives them an animalistic approach.
Another thing that seperates them from society, would be the way that they communicate; with Oskar creating a new language for them to use (knocking on the wall - code) this is a strange way of communication, especially in this day and age - and it definiely seperates them from society. I think this was Oskar's intention (being different) because he knows full well himself that they, even as individuals are 'outsiders' - and that they couldcreate a whole new world of their own to escape to.
Also, I picked up on the fact that Eli and Oskar reguarly meet in the courtyard at night to talk and hang around together. The buildings/houses surrounding the courtyard could represent who they should be, their expectations of society and the fake identities that they make to conform to it. The courtyard, being particularly set in the centre of the buildings could symbolise their inner feelings (heart/centre) which gives an irony to the film, that the situation involves a lot of blood; and the visual metaphor being a heart (centre) is a muscle in the body that pumps blood.
5. My response of the characters in 'Let The Right One In' is different for each one, because the elements of their personality/charactoristic/profile all say different things. I find Eli quite a disappointment to watch, because I couldnt really fully understand her or what she was feeling. Perhaps this was the intention of the director, to extend the iscolation of Eli and how she is of another kind that we (even as a human audience) cant understand. I feel that even in intense situations, she lacks even the simple emotions of empathy, this could be part of her characteristic, or her nature as a vampire.
Nevertheless, it brings a fresh perspective the updated representation of vampires, as she faces modern reality like a normal human, but with the pressure of being a vampire weighing up on her.
Another charactor, one that I felt a strong connection with, was Oskar, and this was mainly because hisemotional seperation with his family; and I'm sure the majority of the audience can relate to. Also, the elements of his bullying are of such an extremity - that his tolerance with his surroundings, and the emotional neglect from his family (not realising something was wrong with him) was easy to deal with. His insecurities result in an anti-social behaviour, we see him stabbing a tree with a knife, pretending it was someone. This is obviously his way of satisfying his revenge mentally - but his desire to fight back physically is foreshadowed in the film, and with the help and encouragement of Eli - he seems at a level, to be quite dangerous because he has so much anger built inside him - that morality wouldnt phase him. I think, even as a horror movie - it educates the audience into believing that violence isnt always the answer and having a close friend to open up to is key. This is a very sensitive subject to touch upon, and I think the movie does it quite well; and as a result the audience feels a sense of reliability with the characters in the film (overall, better audience feedback.)
6. One particular aspect of the narrative would be how we, as a generation are represented in this piece of media. For example, in a movie where the main source of evil was originally meant to be generated by the fact that Eli was a vampire who killed innocent people; society is reflected back to us - and the audacity that we have to critisise other evils, when we're generating evil ourself. For example, an extremity of bullying that could easily lead to other distasters, like suicide as a result. I think the director was careful to chose what environment Eli and Oskar would be shown in, because if he chose a completely good and safe society, then the evil that he created himself (vampire) would look even worse, but to then blend her in with the reality of society; would then give Eli a less judgemental view.
Also, another evil would be the way that the background families treat eachother, for example, when the woman goes to comfort her husband on the death of his bestfriend, she is neglected and cast away from him. This gives the audience a clear pointer of who in society is the most dominating, and according to this aspect; themen are the more dominant.
Taking away the fact that Eli is a vampire, without her, Oskar would most likely be either seriously hurt/tormented or dead. When the main ringleader of the bullying cult persuades his older and more ferocious brother to intervene - Oskar (without Eli's aid) would be drowned and dead. This source of evil is reflected from society, and how we seem to overlook serious issues that occur even today. The media seems to mirror this image, and shows it to us; perhaps to inform us, or remind us of the evil that surrounds us even today.
7. Eli and Oskar's relationship does seem unusual, especially in such a complex situation - yet I can see how the relationship could still remain even if Eli was human. One of my versions would be that in the society of mainly German people, a Jewish family (Eli and her father) moved into the area, and were being suspected of crimes that they didnt commit. This would cause a strain on Eli and Oskar's relationship as Eli would be cast out of society because of her religion/faith.
Another idea of mine, would have to change the date of the movie by a considerable amount, as Eli and Oskar's realtionship could be an unusual one if they were at war, and the women (in general) wernt as dominant as men, therefore their opinions/feelings were cast out and ignored. This would mean that Eli's attention for Oskar (and his attention in return) would be an unusual one, given the circumstances - and instead of Eli being physically strong, and Oskar being weak - it could all be shifted into a mental state. So, Eli is mentally stronger than Oskar who is less intelligent.
8. Personally, I feel that the director grasped the concept that vampires remain very domestic, and used it to the advantage of the film, for example, when Eli and Oskar create their own language through knocking on the wall between them (in code)
This identity does not guarantee equal access to various other films around the world, as subtitles can limit comfort and connection with the film, and the characters presented in them. Personally, I watch films (of any genre) to escape from reality (Blumler & Katz Theory; Diversion) - stress, and all other complications; furthermore, having to read subtitles constantly can suppress this feeling of freedom, as I'm still under some sort of pressure to read the script, and keep up. Secondly, as the audience is of another language/culture/ethnicity to those represented in the film, they cant fully grasp the emotion and tone of their voice when saying specific words with emphasis - as we're only reading passive words. This can jeopardise the emotional connection between the audience and the characters.
2. The trailer that I watched encouraged me as an audience member to watch the film in a cinema, as, on a whole, it came across in a chilling tone. This infers that the movie itself requires a fixed amount of focus and emotional input in order to grasp the movie's full potential - therefore condoning that seeing it in the cinema (a highly closed in/tight atmospheric environment) will ensure this.
Also, on the a scale of general interest - 'Let The Right One In' represents vampires in a completely different sighting, as opposed to the traditional representation that the audience is already aware of. For example, vampires are supposedly all-evil creatures that cling to life, metaphorically; in that they want to live again. And physically; in that they feed on human blood. This is clearly shown throughout the trailer, but in a more sensitive and prevailed way (she doesn't seem all-evil - she expresses an in depth admiration for the human boy, which separates her from the traditional theory.) Thirdly, the trailer contains elements of other genres, but mixed with a dark signature tone; for example, romance is presented but with a dark and complex twist. All of these features encourage the audience to see it in the cinema, as there is a lot to take on board throughout the film and watching it at home (on DVD/video) wont be as fulfilling/entertaining/grasping/moving as it would in the cinema.
3. The horror conventions that I'm familiar with, consist of -
- Shadowy, dark settings - often that juxtapose the initial ending, (example, location/setting - graveyard; connotes death and misery)
- Trademark killing/tool used for killing clearly identified, (example, cause of death; strangled, stabbed, cut throat e.c.t. - tool used for killing/maiming; claw, hook, knife e.c.t.) somewhat signiture killing (sense of identity)
- Use of dark/black colour schemes, gothic, (example, dark clothing/scenery/lighting e.c.t.)
- Victims often background people, not of high importance but still are exposed with a sense of innocence and neutrality.
- Blood, vulgar scenes, gory.
- A perversion of innocence, whether that be an object, saying, lifestyle, clothing... (for example, a teddy bear, keys, jewelry e.c.t)
- Reasonable sense of good and evil, allows the audience to build an idea of the structure and plot of the film - also it leads them to question the characters and their alignment.
Throughout the film, a few of my idea's on the horror convention were shown, however, obviously, through various methods to suit the plot/structure of the film.
For example, the idea of a trademark killing or method of killing was shown - this being that the vampire girl (Eli) leaves all of her victims with the same signiture bite mark on their neck (after she's drunk their blood). Thisseperates her from reality, as any other regular human, would kill with more manifactured tools, such as a knife/gun.
Also, throughout the film, the use of dark, or black saturated colour schemes were frequently used, as Eli could only come out at night as not to risk exposure of the sun (results in horiffic death) - therefore, mainly, the film is frequently enshrouded in darkness (night).
The use of the Rubix Cube, could relate to my idea of perversion of innocence as its a symbol of reality and childish interests - which brings us back to fact that the main characters are children (children infer innocence, life and neutrality) but given their contrasting circumstances, that innocence is shadowed. This is generated by two situations, the first; the innocence of children isn't shown through act's of bullying that Oskar tolerates. The second, mainly, being that Eli, a young child herself, is playing the role of a vampire (evil).
Different approaches are shown in the film, such as the uncertainty of good and evil - this was perhaps purposeful as to lead the audience through twists and turns of the plot. Also, it could be for the audience tomake their own assumptions of the characters; this allows them to make their own judgement on the structure, which engages the audience to take part.
4. The sense of Eli and Oskar being 'outsiders' visually is shown through a scene where the audience is looking through both Eli's bedroom window and Oskar's (split scene intention, but windows are close enough to get in the same shot.) In this scene, the windows could be visual metaphors for their lives, and how they feel closed in and somewhat iscolated from everyone else, also - it can make the audience feel like they're looking past the fake image that society enforces on them, and focuses on who they really are as individuals. Eli's window is blurred out, and she is heard arguing with her father, darks shadows infer movement behind the window. The fact that Eli's window is blurred could connote her secret is a blurring factor which makes you see her in a different way to anyone else, also - it could suggest that she, as a character, is undefined and confused. Oskar's window however is clear, which could represent his innocence and purity, secondly it could suggest that he (compared to Eli) is a less complex charactor with no extreme secrets that would change the way you see him. Oskar is listening to Eli and her father arguing on the other side of the wall, which suggests his genuine interest in Eli and her personal life. However, the wall beween them could represent how their contrasting fates can seperate them. Mise-en-scene also contributes to their label 'outsiders' as they both wear generally dark clothing, and at times are seen with barely any clothing - this gives them an animalistic approach.
Another thing that seperates them from society, would be the way that they communicate; with Oskar creating a new language for them to use (knocking on the wall - code) this is a strange way of communication, especially in this day and age - and it definiely seperates them from society. I think this was Oskar's intention (being different) because he knows full well himself that they, even as individuals are 'outsiders' - and that they couldcreate a whole new world of their own to escape to.
Also, I picked up on the fact that Eli and Oskar reguarly meet in the courtyard at night to talk and hang around together. The buildings/houses surrounding the courtyard could represent who they should be, their expectations of society and the fake identities that they make to conform to it. The courtyard, being particularly set in the centre of the buildings could symbolise their inner feelings (heart/centre) which gives an irony to the film, that the situation involves a lot of blood; and the visual metaphor being a heart (centre) is a muscle in the body that pumps blood.
5. My response of the characters in 'Let The Right One In' is different for each one, because the elements of their personality/charactoristic/profile all say different things. I find Eli quite a disappointment to watch, because I couldnt really fully understand her or what she was feeling. Perhaps this was the intention of the director, to extend the iscolation of Eli and how she is of another kind that we (even as a human audience) cant understand. I feel that even in intense situations, she lacks even the simple emotions of empathy, this could be part of her characteristic, or her nature as a vampire.
Nevertheless, it brings a fresh perspective the updated representation of vampires, as she faces modern reality like a normal human, but with the pressure of being a vampire weighing up on her.
Another charactor, one that I felt a strong connection with, was Oskar, and this was mainly because hisemotional seperation with his family; and I'm sure the majority of the audience can relate to. Also, the elements of his bullying are of such an extremity - that his tolerance with his surroundings, and the emotional neglect from his family (not realising something was wrong with him) was easy to deal with. His insecurities result in an anti-social behaviour, we see him stabbing a tree with a knife, pretending it was someone. This is obviously his way of satisfying his revenge mentally - but his desire to fight back physically is foreshadowed in the film, and with the help and encouragement of Eli - he seems at a level, to be quite dangerous because he has so much anger built inside him - that morality wouldnt phase him. I think, even as a horror movie - it educates the audience into believing that violence isnt always the answer and having a close friend to open up to is key. This is a very sensitive subject to touch upon, and I think the movie does it quite well; and as a result the audience feels a sense of reliability with the characters in the film (overall, better audience feedback.)
6. One particular aspect of the narrative would be how we, as a generation are represented in this piece of media. For example, in a movie where the main source of evil was originally meant to be generated by the fact that Eli was a vampire who killed innocent people; society is reflected back to us - and the audacity that we have to critisise other evils, when we're generating evil ourself. For example, an extremity of bullying that could easily lead to other distasters, like suicide as a result. I think the director was careful to chose what environment Eli and Oskar would be shown in, because if he chose a completely good and safe society, then the evil that he created himself (vampire) would look even worse, but to then blend her in with the reality of society; would then give Eli a less judgemental view.
Also, another evil would be the way that the background families treat eachother, for example, when the woman goes to comfort her husband on the death of his bestfriend, she is neglected and cast away from him. This gives the audience a clear pointer of who in society is the most dominating, and according to this aspect; themen are the more dominant.
Taking away the fact that Eli is a vampire, without her, Oskar would most likely be either seriously hurt/tormented or dead. When the main ringleader of the bullying cult persuades his older and more ferocious brother to intervene - Oskar (without Eli's aid) would be drowned and dead. This source of evil is reflected from society, and how we seem to overlook serious issues that occur even today. The media seems to mirror this image, and shows it to us; perhaps to inform us, or remind us of the evil that surrounds us even today.
7. Eli and Oskar's relationship does seem unusual, especially in such a complex situation - yet I can see how the relationship could still remain even if Eli was human. One of my versions would be that in the society of mainly German people, a Jewish family (Eli and her father) moved into the area, and were being suspected of crimes that they didnt commit. This would cause a strain on Eli and Oskar's relationship as Eli would be cast out of society because of her religion/faith.
Another idea of mine, would have to change the date of the movie by a considerable amount, as Eli and Oskar's realtionship could be an unusual one if they were at war, and the women (in general) wernt as dominant as men, therefore their opinions/feelings were cast out and ignored. This would mean that Eli's attention for Oskar (and his attention in return) would be an unusual one, given the circumstances - and instead of Eli being physically strong, and Oskar being weak - it could all be shifted into a mental state. So, Eli is mentally stronger than Oskar who is less intelligent.
8. Personally, I feel that the director grasped the concept that vampires remain very domestic, and used it to the advantage of the film, for example, when Eli and Oskar create their own language through knocking on the wall between them (in code)
Tuesday, 29 November 2011
Monday, 14 November 2011
3 Gangster Film Idea's (homework)
My Idea for the Gangster film.Picture it, around the 1950's in the darkest, dangerous depths of New York City - a forever growing gang of assassins and mob leaders, known as The Misouski's run by The Boss, govern everything. From factories, to casino's, to the highstreet market, to an average man's wages; they rule it all. They take it upon themselves to take and give, warming off all trespassers who mean war, and wiping away whoever doesnt agree. Locals fear what they dont know and try their best to keep themselves to themselves; but no-one's safe. People talk, and people see - and everything gets back to The Misouski's, they know everything.
The Misouski's are undefeatable, they number in the hundreds - one big hungry family, where infact, family doesnt entirely mean blood-related, or trusted; just capable. And thats all they need.
The Misouski's go back decades, and their history is known everywhere, and feared by everyone - gangs have come and gone, disappeared in car boots, off cliff edges, in garbage trucks, at the bottom of the ocean, you name it; no-one ever stood a chance.
Until, a new family move into the neighbourhood.
A small family, respectable, observant and resistant to anything or anyone who tries to dominate them - The D'Norts. - Rumours spread of their history, and how they've circled the area, gathering the thousands, bracing themselves for confrontation, and (if necessary) - war. See, they dont agree with The Misouski's or their ways of giving what they dont need, and taking what they want.
Sensing a panic and disruption in the area, The Misouski's keep a close eye on them, not taking any chances - and decide to offer them a passage into their gang. Endless money, respect, feared by all, dominated by none but The Boss, and a passage through life that serves nothing but self desires being fulfilled, and their duty as a man being carried out by their side.. who couldn't refuse ?
The refusal came nothing but suprise to The Boss, and with a slight nod of the head - assassins would be on their way to get rid of them. - But to their suprise, The D'Norts came prepared, fighting their own like there was nothing to lose.
Gun's, knives, machetti's, baseball bats, flash cars, machine guns - anything that could conquer death is used from both sides.
The Misouski's have met their match.
As mob-wars erupt, the city is destroyed. Explosions, car bombs, flying bullets and any means of tortchure are thrown at eachother, and finally, the triumphant winners hold the power to the city.
The D'Norts restore peace and tranquility to the City of New York, leaving The Misouski's as nothing but a bad memory to everyone.
5 Things I'll Do To Keep Within The Genre.1. I'll include the traditional costumes, such as darks suits and proffessional outfits.
2. I'll show consistant agressiveness and violence, whether that's in the form of speech, actions or events.
3. I'll present wealth, power, high status - and clealy contrast/seperate this from the average people (locals) - by costume, speech, facial expression, body language, occupation etc.
4. I'll show weaponry such as knives, guns, baseball bats etc.
5. I'll show the ownership of places, and people through acting strategies aswell as visually (being named after the gang/person).
One thing I'll do to change/adapt the genre, is to make the leaders females. Hardly any gangster films include women in a powerful, if not a leadership role - but only as an object/jailbait for the men. This will be a different feature, and will give a fresh perspective for the audience as it encourages equality between the two sexes.
My 3 Possible Opening Sequences.Opening Seqence 1#
Darkness.
Dialogue (Female, American accent, low, threatening tone.) "It aint ever easy y'know.. bein' a woman. Them scumbag suckers look at ya' like ya' aint nothin' but a matt to wipe ya' feet on, and thats how it was. Nothin' ya' could say, nothin' ya' could do. - I remember back when I was only a kid - watching the devil of a man I'd call my father hit my mother like it was nothin'.. like she was nothin'. But I aint layin down for shit. Anyone can hold a gun and aim for ya head, anyone could get revenge..''
Clips of people at clubs, casino's bars, resurants etc in a montage (to show time passing).
''But I aint here for revenge. (laughs) I'm past all that.. - I'm here to prove a point. That us women are just as good.. maybe even better."
Images stop, and the camera is moving in a point-of-view movent, walking down the street, cars going past, men stopping for you to let you walk past, fearfully.
"But like I said.. it aint ever about provin' them wrong. It was about provin' yourself right. Whether that meant reasonin' to em', or putting gun to their head and telling em'.
Point-of-view shot still going as you enter a bar, everyone looks up at you, and then quickly back down - a few bolder characters nod slightly in respect.
Moves toward a stool near the bar and sits down, hands rest on the counter (gloved hands) - the barman nodds and puts a glass infront of you and a bottle of Bourbon. As he moves away, the mirror behind him is in full-view. A woman with dark brown wavy hair at her shoulders, bright red lipstick and a pale face smiles mischievously at her reflection.
Opening Sequence 2#
*Harsh breathing*
Lights suddenly fade on (perhaps point-of-view, someone regaining consciousness) - camera does a full circle of the small room; dirty walls, old floorboards with blood smudged across it and a door. On the floor lay two men, one barely conscious and the other writhing in pain. The first man sits up with difficulty, blood streaming from a gash in his forehead and looks around in terror. The other lays writhing in pain still.
First man whispers "Where did she-"
Is interrupted by a female voice coming from the door way; "Go ?"
The camera zooms in on a woman standing in the doorway, holding a gun playfully in her hands.
She looks up at the man, and chuckles; "Without finishing my business ? How careless would that be.."
She walks across the room towards the first man, her heels are loud on the floorboards.
She kneels infront of the man and leans forward mockingly; "I want my money."
Shot-reverse-shot of the man and woman.
"I swear to God, I don-"
Is inturrupted again by the woman; "I couldnt care less who you swear by, it's either my money in my hands, or your head on a plate - completely your choice.."
Man whimpers, "Please... I dont-"
*BANG* - woman shoots the second man who was laying only feet from them.
"Lets try that one again, shall we.." woman sticks the end of the gun into the man's mouth threateningly.
*the sound of her re-loading her gun*
Darkness.
Opening Sequence 3#
*fast-paced old fashioned music plays* lights flash like a party/club.
Camera reveals the outside of a club, loud music is blaring out of it, and a queue of people are waiting to get in outside.
The camera does an 180 degree turn, to a fancy car thats pulling up outside. A man runs forward from behind the camera and opens the passenger door slowly.
Close-up of a womans heels hitting the pavement, zooms out to show the a wealthy woman in a red expensive dress get out of the car, her feathered hat doesnt allow the audience to see her face. Another man runs from the opposite side of the car to the pavement, to escort her inside.
Camera tracking the woman closely behind, as she has the man hold the door open for her, and other men wait for her to walk past respectfully. Other women looking with a fearful smile and letting her walk infront.
As they reach the main club, the woman walks past people sitting at tables. People one by one do a double-take and stare at her.
The camera swerves to the stage where the 'host' has also noticed her arrival.
"Ladies and Gentlemen, we have a very special visit - from the lady herself !" he gestures towards the woman.
Everyone applaudes.
Camera circles round to see the woman's face, (extreme-close-up) - a small curve of her lips indicate that she is smiling.
The Misouski's are undefeatable, they number in the hundreds - one big hungry family, where infact, family doesnt entirely mean blood-related, or trusted; just capable. And thats all they need.
The Misouski's go back decades, and their history is known everywhere, and feared by everyone - gangs have come and gone, disappeared in car boots, off cliff edges, in garbage trucks, at the bottom of the ocean, you name it; no-one ever stood a chance.
Until, a new family move into the neighbourhood.
A small family, respectable, observant and resistant to anything or anyone who tries to dominate them - The D'Norts. - Rumours spread of their history, and how they've circled the area, gathering the thousands, bracing themselves for confrontation, and (if necessary) - war. See, they dont agree with The Misouski's or their ways of giving what they dont need, and taking what they want.
Sensing a panic and disruption in the area, The Misouski's keep a close eye on them, not taking any chances - and decide to offer them a passage into their gang. Endless money, respect, feared by all, dominated by none but The Boss, and a passage through life that serves nothing but self desires being fulfilled, and their duty as a man being carried out by their side.. who couldn't refuse ?
The refusal came nothing but suprise to The Boss, and with a slight nod of the head - assassins would be on their way to get rid of them. - But to their suprise, The D'Norts came prepared, fighting their own like there was nothing to lose.
Gun's, knives, machetti's, baseball bats, flash cars, machine guns - anything that could conquer death is used from both sides.
The Misouski's have met their match.
As mob-wars erupt, the city is destroyed. Explosions, car bombs, flying bullets and any means of tortchure are thrown at eachother, and finally, the triumphant winners hold the power to the city.
The D'Norts restore peace and tranquility to the City of New York, leaving The Misouski's as nothing but a bad memory to everyone.
5 Things I'll Do To Keep Within The Genre.1. I'll include the traditional costumes, such as darks suits and proffessional outfits.
2. I'll show consistant agressiveness and violence, whether that's in the form of speech, actions or events.
3. I'll present wealth, power, high status - and clealy contrast/seperate this from the average people (locals) - by costume, speech, facial expression, body language, occupation etc.
4. I'll show weaponry such as knives, guns, baseball bats etc.
5. I'll show the ownership of places, and people through acting strategies aswell as visually (being named after the gang/person).
One thing I'll do to change/adapt the genre, is to make the leaders females. Hardly any gangster films include women in a powerful, if not a leadership role - but only as an object/jailbait for the men. This will be a different feature, and will give a fresh perspective for the audience as it encourages equality between the two sexes.
My 3 Possible Opening Sequences.Opening Seqence 1#
Darkness.
Dialogue (Female, American accent, low, threatening tone.) "It aint ever easy y'know.. bein' a woman. Them scumbag suckers look at ya' like ya' aint nothin' but a matt to wipe ya' feet on, and thats how it was. Nothin' ya' could say, nothin' ya' could do. - I remember back when I was only a kid - watching the devil of a man I'd call my father hit my mother like it was nothin'.. like she was nothin'. But I aint layin down for shit. Anyone can hold a gun and aim for ya head, anyone could get revenge..''
Clips of people at clubs, casino's bars, resurants etc in a montage (to show time passing).
''But I aint here for revenge. (laughs) I'm past all that.. - I'm here to prove a point. That us women are just as good.. maybe even better."
Images stop, and the camera is moving in a point-of-view movent, walking down the street, cars going past, men stopping for you to let you walk past, fearfully.
"But like I said.. it aint ever about provin' them wrong. It was about provin' yourself right. Whether that meant reasonin' to em', or putting gun to their head and telling em'.
Point-of-view shot still going as you enter a bar, everyone looks up at you, and then quickly back down - a few bolder characters nod slightly in respect.
Moves toward a stool near the bar and sits down, hands rest on the counter (gloved hands) - the barman nodds and puts a glass infront of you and a bottle of Bourbon. As he moves away, the mirror behind him is in full-view. A woman with dark brown wavy hair at her shoulders, bright red lipstick and a pale face smiles mischievously at her reflection.
Opening Sequence 2#
*Harsh breathing*
Lights suddenly fade on (perhaps point-of-view, someone regaining consciousness) - camera does a full circle of the small room; dirty walls, old floorboards with blood smudged across it and a door. On the floor lay two men, one barely conscious and the other writhing in pain. The first man sits up with difficulty, blood streaming from a gash in his forehead and looks around in terror. The other lays writhing in pain still.
First man whispers "Where did she-"
Is interrupted by a female voice coming from the door way; "Go ?"
The camera zooms in on a woman standing in the doorway, holding a gun playfully in her hands.
She looks up at the man, and chuckles; "Without finishing my business ? How careless would that be.."
She walks across the room towards the first man, her heels are loud on the floorboards.
She kneels infront of the man and leans forward mockingly; "I want my money."
Shot-reverse-shot of the man and woman.
"I swear to God, I don-"
Is inturrupted again by the woman; "I couldnt care less who you swear by, it's either my money in my hands, or your head on a plate - completely your choice.."
Man whimpers, "Please... I dont-"
*BANG* - woman shoots the second man who was laying only feet from them.
"Lets try that one again, shall we.." woman sticks the end of the gun into the man's mouth threateningly.
*the sound of her re-loading her gun*
Darkness.
Opening Sequence 3#
*fast-paced old fashioned music plays* lights flash like a party/club.
Camera reveals the outside of a club, loud music is blaring out of it, and a queue of people are waiting to get in outside.
The camera does an 180 degree turn, to a fancy car thats pulling up outside. A man runs forward from behind the camera and opens the passenger door slowly.
Close-up of a womans heels hitting the pavement, zooms out to show the a wealthy woman in a red expensive dress get out of the car, her feathered hat doesnt allow the audience to see her face. Another man runs from the opposite side of the car to the pavement, to escort her inside.
Camera tracking the woman closely behind, as she has the man hold the door open for her, and other men wait for her to walk past respectfully. Other women looking with a fearful smile and letting her walk infront.
As they reach the main club, the woman walks past people sitting at tables. People one by one do a double-take and stare at her.
The camera swerves to the stage where the 'host' has also noticed her arrival.
"Ladies and Gentlemen, we have a very special visit - from the lady herself !" he gestures towards the woman.
Everyone applaudes.
Camera circles round to see the woman's face, (extreme-close-up) - a small curve of her lips indicate that she is smiling.
Thursday, 10 November 2011
Prelim Task Evaluation.
In terms of team-work, I found the task relatively easy as we all contributed to the task without any problems/conflict. The roles in my group were as follows: myself created the storyboard, did a large amount of editing and contributed to the filming. Teni mostly filmed and contributed to sound, Michela came up with the plot and helped with editing and the script. Stevie's role consisted of editing and sound and the script. We all took into account each other's ideas and gave each other equal roles and we encouraged eachother to take part in every method we used (filming, editing, sound..)
I shot the ending of the prelim (plot; Becky leaves Ryan) - below are the shots that I filmed -
We met the brief by using the 180 degree rule effectively and successfully, as shown;
We also explored various other shots, including point-of-view, extreme-close-up's and mid-shots.
For our Prelim Task, we decided to narrate the typical moment, when someone (in our case, Ryan, the boyfriend) finds out that his girlfriend has cheated.
As you can see from our footage; shot-reverse-shot and over-the-shoulder shot were used and proved to be useful in that they displayed both the characters positions and emotions (body language etc.)
We decided, whilst editing, to demonstrate this situation in a comical way, instead of being serious - this is to create a light atmosphere and to allow the audience to view the situation in an entirely different way. This was generated by a cheesy romantic backing-track being played at every oppertunity ('Lets Get It On' Marvin Gaye) - this was closely followed by the clip of a record being suddenly stopped; to heighten and enhance the awkward moments in the conversation.
We also used a diversity of editing techniques, including headings, sound effects, ASD and liighting adjustments.
Weaknesses
As a group, we faced a series of problems, such as who would act in our production, what location we'd choose and (the most challenging) what roles would be taken by who in our group.
Nevertheless, we equally split the roles of filming, directing and editing between us - so that we could all expand our knowledge and experience.
Strengths
Something that we did well, was that we were co-operative with eachother and we took eachothers opinions and suggestions into account.
Moreover, somethign we could improve on, would definitely be preperation - and we'll be sure to take this into account in future tasks.
I shot the ending of the prelim (plot; Becky leaves Ryan) - below are the shots that I filmed -
We met the brief by using the 180 degree rule effectively and successfully, as shown;
We also explored various other shots, including point-of-view, extreme-close-up's and mid-shots.
For our Prelim Task, we decided to narrate the typical moment, when someone (in our case, Ryan, the boyfriend) finds out that his girlfriend has cheated.
As you can see from our footage; shot-reverse-shot and over-the-shoulder shot were used and proved to be useful in that they displayed both the characters positions and emotions (body language etc.)
We decided, whilst editing, to demonstrate this situation in a comical way, instead of being serious - this is to create a light atmosphere and to allow the audience to view the situation in an entirely different way. This was generated by a cheesy romantic backing-track being played at every oppertunity ('Lets Get It On' Marvin Gaye) - this was closely followed by the clip of a record being suddenly stopped; to heighten and enhance the awkward moments in the conversation.
We also used a diversity of editing techniques, including headings, sound effects, ASD and liighting adjustments.
Weaknesses
As a group, we faced a series of problems, such as who would act in our production, what location we'd choose and (the most challenging) what roles would be taken by who in our group.
Nevertheless, we equally split the roles of filming, directing and editing between us - so that we could all expand our knowledge and experience.
Strengths
Something that we did well, was that we were co-operative with eachother and we took eachothers opinions and suggestions into account.
Moreover, somethign we could improve on, would definitely be preperation - and we'll be sure to take this into account in future tasks.
Tuesday, 27 September 2011
Hiya, I'm Renee Instance (pronounced ren-ay) - it took me roughly 20 minutes to get this started, and I bet it'll take months to actually learn how to work it properly.. but yeah :)
Special thank you to Becky Hagger for putting up with me and basically helping me remember my password.. and then create a new one. (I owe you a Wham bar baby!)
Yeah - enjoy !
Subscribe to:
Posts (Atom)