Monday, 24 October 2011
Friday, 21 October 2011
THE ART OF THE TITLE
Essential viewing for students choosing the film opening brief: The Art of the Title. This excellent site is dedicated to displaying and examining title opening sequences.
PREP TAKE 3 EXAMPLES (as below) AND COMMENT ON HOW THE OPENING TITLE SEQUENCE FUNCTIONS. This involves close observation of choice of shots, framing, mise-en-scene, colours, font choices, music codes...anything relevant.
You will later USE THIS GRID OF 9 FRAMES TO PLAN YOUR OWN OPENING TITLE SEQUENCE and post the planning on your blog.
Set in 1916 and telling the story of a tragic love triangle, this film evokes both the period and genre in its opening sequence, which reflects Malick's knowledge of photography and willingness to use little studio lighting.
The film's cinematography by Morricone models itself on silent films, which often used natural light. Malick also drew inspiration from painters such as Johannes Vermeer, Edward Hopper (particularly his House by the Railroad), and Andrew Wyeth, as well as photo-reporters from the turn of the century, such as Alfred Stieglitz, Weegee (Arthur Fellig) and Jacob Riis. The street scenes capture the urban poverty of the period and explain the desperation of the film's protagonists whose future is precarious .
We have studied Migrant Mother by Dorothea Lange as an example of the power of photography as reportage and its use in social change; the close-up of the infant's and young woman's faces exert a strong appeal and tug on our heart strings. The films concerns with social difference and the need for financial security are hinted at by the stills of the girl in the wedding veil and the three young women drinking tea intercut by shots of manual workers of various kinds.
The subject matter gradually moves from the urban to more of the rural, reflecting the narrative trajectory of the film.
The enchanting orchestral music echoes the use of musical accompaniment in silent film to suggest emotion.
Period colors (brown, mahogany and dark wood for the interiors) and period costumes from used fabrics and old clothes to avoid the artificial look of studio-made costumes. The colours create the illusion of period photographs, street journalism: an essential part of creating verisimilitude or 'real life' on screen. As a result, the footage is imbued with the quality of documentary truth, of scientific 'fact' which allows the viewer to engage fully with the world of the film.
Art of the Title comments: Firing a mix of critical thought and mesmerizing immersion, Dan Perri's title design for Terrence Malick's Days of Heavencombines street level photojournalism and credit-to-character inferences drawing the curious eye at will, the ears aswoon with "Carnival of the Animals - The Aquarium" by Camille Saint-Saens. You are nowhere if not here, with these people, in the Gilded Age of American history.'
'And then the last shot of the opening title sequence] subtlety shifts us from photos and into the world of the film. In a masterful move, the last shot perfectly replicates the same look of the previous images, but...it is one of the actors, Linda Manz (in a photograph taken by Edie Baskin.) It’s through her perspective that we will take this journey so it is fitting that she is the one who bridges the gap from the opening credits into the first shot of the film'. Read the analysis by Cinema Sights
SHERLOCK HOLMES (Guy Ritchie, 2010)
PREP TAKE 3 EXAMPLES (as below) AND COMMENT ON HOW THE OPENING TITLE SEQUENCE FUNCTIONS. This involves close observation of choice of shots, framing, mise-en-scene, colours, font choices, music codes...anything relevant.
You will later USE THIS GRID OF 9 FRAMES TO PLAN YOUR OWN OPENING TITLE SEQUENCE and post the planning on your blog.
The film's cinematography by Morricone models itself on silent films, which often used natural light. Malick also drew inspiration from painters such as Johannes Vermeer, Edward Hopper (particularly his House by the Railroad), and Andrew Wyeth, as well as photo-reporters from the turn of the century, such as Alfred Stieglitz, Weegee (Arthur Fellig) and Jacob Riis. The street scenes capture the urban poverty of the period and explain the desperation of the film's protagonists whose future is precarious .
We have studied Migrant Mother by Dorothea Lange as an example of the power of photography as reportage and its use in social change; the close-up of the infant's and young woman's faces exert a strong appeal and tug on our heart strings. The films concerns with social difference and the need for financial security are hinted at by the stills of the girl in the wedding veil and the three young women drinking tea intercut by shots of manual workers of various kinds.
The subject matter gradually moves from the urban to more of the rural, reflecting the narrative trajectory of the film.
The enchanting orchestral music echoes the use of musical accompaniment in silent film to suggest emotion.
Period colors (brown, mahogany and dark wood for the interiors) and period costumes from used fabrics and old clothes to avoid the artificial look of studio-made costumes. The colours create the illusion of period photographs, street journalism: an essential part of creating verisimilitude or 'real life' on screen. As a result, the footage is imbued with the quality of documentary truth, of scientific 'fact' which allows the viewer to engage fully with the world of the film.
Art of the Title comments: Firing a mix of critical thought and mesmerizing immersion, Dan Perri's title design for Terrence Malick's Days of Heavencombines street level photojournalism and credit-to-character inferences drawing the curious eye at will, the ears aswoon with "Carnival of the Animals - The Aquarium" by Camille Saint-Saens. You are nowhere if not here, with these people, in the Gilded Age of American history.'
'And then the last shot of the opening title sequence] subtlety shifts us from photos and into the world of the film. In a masterful move, the last shot perfectly replicates the same look of the previous images, but...it is one of the actors, Linda Manz (in a photograph taken by Edie Baskin.) It’s through her perspective that we will take this journey so it is fitting that she is the one who bridges the gap from the opening credits into the first shot of the film'. Read the analysis by Cinema Sights
SHERLOCK HOLMES (Guy Ritchie, 2010)
Watery cobblestone logos and longitudinal
linotype layer, lace and lash Prologue Films’ opening and end credit
work for Guy Ritchie’s Sherlock Holmes. Key visual codes
include pen-and-ink line wash drawings that emerge from live action
film, handwriting in ink in a flowing Victorian hand complete with ink
spatters for authenticity, sepia colour tones and the quality of foggy
London pea-soupers that conjure up a shady, dangerous underworld where
crime lurks in the shadows.
SE7EN (David Fincher, 1995)
Se7en is a 1995 American thriller film, which also contains horror and neo-noir elements. The now classic opening sequence to Se7en that helped rejuvenate title design in mainstream cinema. The dvd has a long video about the making of this sequence. Title Designer: Kyle Cooper
Wednesday, 19 October 2011
G322 TELEVISION DRAMA: REPRESENTATIONS OF ETHNICITY
Extract from Hotel Babylon BBC (January 2010 exam) Accessed on YouTube at http://www.youtube.com/watch?v=grAgxe94bRs&feature=related
' As with the January and June 2009 series, this technical area proved to be the most problematic for candidates and the one technical area of analysis that was often omitted in candidates’ answers. Many candidates ignored editing altogether and only a few of those that did cover it were able to make meaningful links to representations by, for example, showing how the editing created particular viewpoints which we are encouraged to identify with or how screen time indicated the shifting relationship between characters in the sequence, for example through the discussion of the rule of thirds.
Discuss the ways in which the extract constructs representations of ethnicity using the following:
· Camera shots, angles, movement and composition
· Editing
· Sound
· Mise-en-scène
The exam allows 2 hours for this analysis. After completing the task, we look at the examiner's report. The examiner drew particular attention to candidates' failure to analyse editing:
'Most candidates made reference to the pace of editing to reflect the frantic situation and emotions of the immigrant characters. The use of shot reverse shot and cuts to aid continuity were mentioned by many candidates, as was the use of cross cutting between the two situations to enhance tension. More able candidates demonstrated the ability to link the use of editing to the representation of characters, such as the use of long and short takes to represent power and the use of eye line matches to reinforce a sense of dominance. Most candidates who addressed editing were able to address the type of transitions used and could comment on the pace of the editing. There was evidence on occasion where students engaged with the rule of thirds and juxtaposition of characters in the narrative using editing devices, which is very encouraging.
'However, many candidates’ responses seem to be very limited in address of the issues of editing and all too frequently it was absent from their responses – which does not enable candidates to reach a level four on the marking criteria for the use of examples. Weaker candidates often omitted any discussion of editing or offered quite simplistic accounts of how editing was used, for example in the use the shot reverse shot sequence between characters. A common error in the terminology of editing continues to be with the use of jump cuts.'
Monday, 17 October 2011
G322 TELEVISION DRAMA: HOW TO WRITE ABOUT EDITING
G322 Television Drama: writing about how editing contributes to representation
EDITING AND REPRESENTATION
As a technical code, editing is primarily related to narrative, and many students struggle to make connections between editing and representation. They see how camerawork such as close-ups and low angles conveys status and emotion to the audience. The use of costume, props and settings functions of mise-en-scène are also pretty transparent to most students.
But what does match-on-action have to do with character or representation?
This list is designed to help you to start thinking about how editing can, if sometimes subtly, influence the audience’s reading of a character, and lead on to wider questions of representation. It is not an exhaustive list, and you should be wary of assuming these suggestions are either a) complete or b) foolproof - in the same way that black and white don’t always represent good and evil (just ask a penguin). The role of editing in representation is open to interpretation, and is greatly dependent on context. So use your intelligence!
ACTION MATCH
When following a single character (e.g. Billy Elliot dancing) this is a purely technical device. However, when an action match is used for intercutting, it can heighten the parallels/contrasts between two different characters in two different situations and offers an opportunity for juxtaposition.
e.g. a scene in Skins showing a young Russian woman’s swinging of the axe (representing of sex and power) is juxtaposed with a fat Russian dinner lady heavy serving of congealed mashed potato. It draws attention to the contrasting ways in which Russian women are being represented.
EYELINE MATCH
Eyeline match usually provides insight to a character's private thoughts.
e.g. In Doctor Who: Last of the Time Lords, Martha exchanges glances with all the people she loves, as though this may be the last chance she has to communicate with them before she dies. Similarly, as she confronts the Master, it keeps cutting between her and the friends watching her, signifying that she, the woman, is the centre of the action.
FINAL SHOT
In any scene, which character or characters are shown in the final shot of the sequence? This is often the character with which the audience is expected to identify.
e.g. in Primeval, although Abby saves the day, the last shot is on Cutter, signifying that the audience is intended to adopt the male, not female, point of view. See also every East Enders cliffhanger ever.
INTERCUTTING: JUXTAPOSITION
Although typically a narrative device, intercutting can set up juxtaposition between parallel storylines, exaggerating the impact or meaning of each by highlighting a point of difference e.g. in East Enders: Wedding Night, the warmth, light and music of the happy pre-wedding feast is in stark contrast with the two unhappy families represented in the cold and dark whenever we cut away. This provides a more favourable representation of Asian family life over white Londoners.
INTERCUTTING: TENSION
When intercutting is used to draw two storylines together, this can be structured to create tension, and therefore heighten the audience’s identification with a particular character.
e.g.: in Primeval, intercutting between the tiger’s pursuit of Cutter and Abby’s running in with the rifle is action code and prompts the question: will she get there in time? In Hotel Babylon, intercutting offers both tension and juxtaposition: just as Adam is saving his colleague’s life with a jar of jam, another African immigrant, Ibrahim, is being lost. The tension and juxtaposition lead the audience to identify with both characters.
JUMP CUTS
These are rarely used in TV or film; when they are, they tend to suggest either a) chaos and disorder, b) self-conscious ellipsis (drawing attention to the rapid pace of the action) or c) a director who likes to break the rules!
e.g. in Primeval, two jump cuts accelerate Cutter’s preparation to slide down the zip-wire; this could be read as speedy and decisive.
MOTIVATION
A motivated edit is any transition forced on the editor by the development of the action, narrative or character. Whenever shot (a) refers to the existence of an event outside the frame, and we then cut to (b) which shows that event, that’s a motivated edit. We can sometimes judge a character’s worth or importance by the number of cuts they motivate.
e.g. in Primeval, Cutter runs away from the tiger, drawing it away from Abby.
His constant motion motivates many of the cuts in this sequence, again reinforcing his status as the protagonist, if not the Proppian hero.
PACE OF EDITING
This can imply character qualities, especially if only one or two characters are in the sequence. A fast pace might suggest energy or panic (depending on context) while infrequent cuts (long takes) might suggest calm, a casual attitude, or provide documentary-style realism (as in Cast Offs). Similar effects can be achieved with speed ramping and slow-motion.
PREVALENCE
How much screen time does a character get? The more time we see them on screen, the more important their role. This can develop during a scene to change character’s status.
e.g. in Hotel Babylon, Adam is invisible (‘just one of many refugees’) until he steps forward to treat the diabetic maid. Suddenly, the editing favours him, and we realise his importance and skill, despite his menial status in the hotel.
SELECTION: to show or not to show
As film-makers yourselves, it can sometimes be interesting to ask what information has been included or omitted in an edit.
e.g. in Primeval, as Jenny comes under increased threat from West, at no point do we cut away to her colleagues approaching the barn. To do so might have reduced the tension in the scene; not doing so arguably increases Jenny’s apparent vulnerability. Narratively, it is also a nice surprise when the team arrive in a single cut, which contrasts with the early tiger chase (see intercutting).
SHOT / REVERSE SHOTS and REACTION SHOTS
S/RS indicates the relationship between two characters: it signifies and sometimes exaggerates their closeness or their opposition (depending on the context). The amount of time given to a character’s reaction shots can convey their status in the scene. For example, if two characters are in S/RS conversation, do they get equal screen time, or do we spend more time looking at one character, speaking and reacting? Equally (though this is also a function of camera, are the two characters framed equally?
e.g.: in Doctor Who, the S/RS between Martha and the Master gives Martha CUs and the Master MCUs, conveying Martha’s greater status as a character, even if narratively she appears defeated.
James Baker (OCR Assistant Principal Examiner G322) writes:
One approach to both sound and editing is to look at the way in which technical elements are used to create perspective or viewpoint within a sequence - a key element of the process of representation that goes beyond the identification of 'character traits'.
By understanding, for example, how screen time, p.o.v. or reaction shots are distributed, even weaker students can see how hierarchies are established, leading to certain representations being privileged where others are marginalised.
Stronger students are able to develop this further by discussing how the audience is positioned in relation to the representations on offer - the best answers in the June session of G322 offered some great discussion of the way in which editing frequently shifted the viewer's relationship to dominant views of gender in different scenes.
Another important factor is the way that the editing of the sequence grants or witholds narrative information from the audience in order to encourage identification or rejection of particular characters/representations. Fans of 1970s screen theory will recognise the essence of Colin McCabe's work on hierarchy of discourses in classic realist texts in this approach - obviously massively watered down! There are good chapters on this in Television Culture (John Fiske) and Television Studies (Bernadette Casey) if you want to mug up.
19 Mar 2010 For James Baker’s Prezi on the film industry click here ... ocrmediaconference2010.blogspot.com/
REPRESENTATIONS IN TV DRAMA
We look at historical representations in TV drama in order to see how society both reflects and shapes representation. Stereotyping is a key issue and British drama plays with the expectations an audience has of iteslf and the way contemporary society is depicted.
Drawing room comedies: My Fair Lady (1956)
Comedy of class: Educating Rita (1980)
Middle-class snobbery: The Good Life (1975) and Keeping Up Appearances (1990-5)
We analyse representations of social class as we screen them. You have a four-page handout to highlight and keep.
Drawing room comedies: My Fair Lady (1956)
Comedy of class: Educating Rita (1980)
Middle-class snobbery: The Good Life (1975) and Keeping Up Appearances (1990-5)
We analyse representations of social class as we screen them. You have a four-page handout to highlight and keep.
Wednesday, 12 October 2011
G322 TELEVISION DRAMA: REPRESENTATION OF SOCIAL CLASS
Downton Abbey (ITV)
How does the mise-en-scène create the representation? Discuss setting, historical period, class markers, costume (including hats & gloves), jewellery, colours, hair, make-up and lighting.
TV DRAMA: EXTRAS Ricky Gervais
CLASSWORK & PREP
Watch the Orlando Bloom extract ( four screenings) and make notes. Then answer the following question in essay format. Write up to three sides. By Monday 17th October 2011
Watch the Orlando Bloom extract ( four screenings) and make notes. Then answer the following question in essay format. Write up to three sides. By Monday 17th October 2011
Extract: Extras (BBC Productions) Episode 1, Series 1 written and directed by Ricky Gervais and Stephen Merchant,
Extract length: 5 minutes max. Timing of extract: First 5 minutes of Episode 1.
The second half of the clip can be seen here
Answer the question below, with detailed reference to specific examples from the extract
The second half of the clip can be seen here
Answer the question below, with detailed reference to specific examples from the extract
only.
1 Discuss the ways in which the extract constructs representations of gender using the following:
• Camera shots, angles, movement and composition
• Editing
• Sound
• Mise-en-scene [50 marks]
Monday, 10 October 2011
G322 TELEVISION DRAMA: ANY HUMAN HEART
THE STORY OF FILM ON 4OD
Have a look at this excellent resource
HERE 4OD
I would particularly like you to watch the following:
No 5 A Matter Of Life And Death (Michael Powell and Emeric Pressburger)
The enormous, infinite escalator which transports Carter (David Niven) to heaven was constructed over three months by the escalator stalwarts of the London Passenger Transport Board. It was driven by a 12 horsepower engine which was so loud that all dialogue had to be dubbed in post-production.
No. 11 The Long Day Closes (Terence Davies)
I would like you to look at the cut out and keep guides, for example this one on James Cameron especially if you are interested in World Cinema.
Have a look at this excellent resource
HERE 4OD
I would particularly like you to watch the following:
The enormous, infinite escalator which transports Carter (David Niven) to heaven was constructed over three months by the escalator stalwarts of the London Passenger Transport Board. It was driven by a 12 horsepower engine which was so loud that all dialogue had to be dubbed in post-production.
Music and sound is an important factor in Terence Davies’ study of mid-50s Liverpool, and the soundtrack is densely packed. Gustav Mahler, Judy Garland and Nat King Cole are all featured, as well as thirty-five pieces of original music.
No. 12 My Beautiful Laundrette (Stephen Frears)
I would like you to look at the cut out and keep guides, for example this one on James Cameron especially if you are interested in World Cinema.
TEXTUAL ANALYSIS OF MISE-EN-SCENE
This adaptation of William Boyd's novel Any Human Heart sees (l-r)Matthew Macfadyen, Jim Broadbent and Sam Claflin playing central character Logan at different points in his life. The drama boasts a wealth of other high-calibre talent too, including Kim Cattrall, Gillian Anderson, Tom Hollander, Natasha Little and Julian Rhind-Tutt.
Aired November 2011, Channel 4.
Aired November 2011, Channel 4.
Your task is to deconstruct the clothing codes in this shot of the central character Logan, represented at three different stages of his life.
C4 has an excellent website to explore about the series as well as a wealth of information about film and the chance to catch up with C4 films on demand.
Friday, 7 October 2011
G322 TELEVISION DRAMA: REPRESENTATION and STEREOTYPING
We look at a variety of clips to scrutinize representations that draw on stereotypes about ethnicity, regional difference and class. We discuss accents and prejudices about them, taking a historical view.
Stereotype: an assumption about a person, place or issue that does not allow for flexibility or detail. Stereotyping involves the use of stock characters or types.
Archetype: a stock character who is the model or prototype, frequently copied in television , drama, film, radio and literature, such as the hero. The role is readily recognized by all.
We contrast Rab C.Nesbitt from Glasgow with the Edinburgh schoolteacher from The Prime of Miss Jean Brodie.
We compare an episode of The Coopers Church going scene with Peter Sellars in The Millionairess (1960) singing Goodness Gracious Me
We discuss how Armstrong and Miller make comedy in their sketch with RAF pilots using RP accents and mismatched vocabulary.
Monday, 3 October 2011
INTRODUCING BRITISH FILM DIRECTORS
Using a leaflet format, you research and introduce your favourite contemporary British film director, introduce him/her to the class and post the leaflet on your blog.
Suggested choices: Ridley Scott, David Yates, Ken Loach, Guy Ritchie, Shane Meadows, Danny Boyle, Edgar Wright, Gurinder Chadha, Sally Potter, Stephen Daldry, Richard Curtis, Paul Greengrass, Saul Dibb, Stephen Frears, Pawel Pawlikowski, Anthony Minghella, Kathryn Bigelow.
RESOURCES:
Suggested choices: Ridley Scott, David Yates, Ken Loach, Guy Ritchie, Shane Meadows, Danny Boyle, Edgar Wright, Gurinder Chadha, Sally Potter, Stephen Daldry, Richard Curtis, Paul Greengrass, Saul Dibb, Stephen Frears, Pawel Pawlikowski, Anthony Minghella, Kathryn Bigelow.
RESOURCES:
Pavel Pawlikowski: Dirty Pretty Things, Last Resort, This World
Michael Winterbottom: Jude, Welcome to Sarajevo, 24 Hour Party People, In This World
Richard Curtis Four Weddings(1994) Love Actually (2003) The Boat That Rocked (2009)
Danny Boyle: Trainspotting (1996)
Mike Leigh: Another Year (2010)
Shane Meadows: This is England (2006)
Ken Loach: Ae Fond Kiss (2004) Looking For Eric (2009)
Neil Jordan: The Crying Game (1992)
Stephen Frears: My Beautiful Laundrette (1985) High Fidelity (2000)
Mike Newell: Four Weddings And A Funeral (1994)
Alan Parker: The Commitments (1991)
Nicholas Hytner: The Madness of King George (1994)
Derek Jarman: Caravaggio (1986)
Anthony Minghella:The English Patient(1996) The Talented MrRipley
Sam Taylor Wood: Nowhere Boy (2009)
John Madden Shakespeare in Love (1998)
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| By Ben Murray |
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| By Lewis Harland |
INTRODUCING KEVIN MACDONALD
We view extracts from Kevin MacDonald's Life in a Day video documentary and discuss how new technology is changing audiences into makers. Life in a Day is a documentary film project by YouTube, announced on July 6, 2010. Users sent in videos of themselves on July 24, 2010, and then Oscar-nominated director Ridley Scott produced the film and edited the videos into a film with director Kevin MacDonald and film editor Joe Walker, consisting of footage from some of the contributors.
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