THE BOX OFFICE

From FilmEscape 

FILM

In class, I introduce you to the world cinema platform MUBI and we analyse the 4 technical codes of the opening of Bram Stoker's Dracula (dir. Francis Ford Coppola, 1992): camerawork, mise-en-scene, sound and  editing. We note the creative use of light (shadows falling across the map of Transylvania; silhouettes of lances and corpses on the battlefield); of wind (ruffling the prince's hair; at the moment of damnation); of sound (non-diegetic vocals in the form of a chorus of female voices chanting foreign words in an elegy); and of liquid (blood pooling around the outstretched hand of Elisabetta). The aim of this activity is to improve analysis of technical codes and to learn creative techniques from master filmmakers.

We move on to study British Cinema, starting with the website of Working Title, by looking at what films they produce and what is in the pipeline. We learn about their history and why they are successful. Using examples, we note how the subject matter of British films serves national audiences such as by dealing with British concerns, social history, culture and interests. The class identifies which WT films they have seen. Many of you will associate WT films with 'safe' mainstream topics, such as the Bridget Jones franchise, Mr Bean, Love Actually, Four Weddings and so on. However, WT makes a wide variety of films, not just those that create a sanitised version of Britishness that would sell the UK to international audiences of culture tourists. Look at our next choice.

We watch the trailer for The Danish Girl: directed by Academy Award winner Tom Hooper (Les Misérables) and starring Academy Award winner Eddie Redmayne (The Theory of Everything) and Alicia Vikander (Anna Karenina), it will be released in the US by Focus Features beginning on Friday 27 November. What makes this film controversial? How might this film be received by different audiences?

You can segment audiences loosely as being global, international, national and niche. For films, the terms mainstream and blockbuster can be used in opposition to art house. We move on the British film maker Terence Davies as an example of a superb auteur director with niche audiences.  We watch the opening of the cult classic Distant Voices, Still Lives, Terence Davies' moving portrayal of working-class life in 1940s and 50s Liverpool.

We dip into the Guardian interview of Terence Davies then catch up with  Sunset Song, Davies's current venture, by watching the trailer for his new release.

Sunset Song stars Agyness Deyn and is an adaptation of Lewis Grassic Gibbon's novel about a farming family torn apart by tragedy on the eve of the first world war. Read the review here. What makes it important for national audiences? What films have you seen about British social history (that aren't costume dramas)?

 

 

PRIMEVAL: TEXTUAL ANALYSIS

G322 TV Drama (Primeval June 2010) Link here

Answer the question below, with detailed reference to specific examples from the extract only. 

1 Discuss the ways in which the extract constructs the representation of gender using the following:

• Camera shots, angles, movement and composition

 • Editing

• Sound

 • Mise en scène

Exemplar Student Essay - G322 TV Drama (Primeval June 2010)

This students response achieved a very high grade due to the following points:

• The student answered the question. This might seem obvious but when a response is unsuccessful the student usually doesn't relate to their answer to the question and so fails to pick up points.
• The question in this case related to gender (male/female) representation. How the men/women were shown
• The student gave detailed examples from the clip and then discussed the way in which this made the men/women in the scene "look".
• The student analysed (pulled apart how the men/women were shown), they did not tell the story or describe the plot which is different from analyzing the clip. Do not story-tell.
• Finally, they gave examples of technical codes to support their argument i.e. the low angle made her look powerful.

  
Read through the student essay below and use the mark scheme to examine where the marks are awarded. I have typed up this response as written and included the red ticks as they appear on the original script and this would indicate where the examiner awarded a mark.
remember the marks are awarded as follows:

argument/analysis/explanation 20 marks
Use of examples 20 marks
Use of terminology 20 marks

Key Media Concepts (TV Drama)

Wednesday 9 June 2010

Duration 2 hours (30 minutes viewing clip; 45 minutes each essay)

Section A: Textual Analysis and Representation

Answer the question below, with detailed reference to specific examples from the extract only.

Extract: Primeval Series 2 Episode 3, written by Richard Kurti and Bev Doyle, dir. Jamie Payne

1.     Discuss the ways in which the extract constructs the representation of gender using the following:

·      Camera shots, angles, movement and composition

·      Editing

·      Sound

·      Mise-en-scene

 (50 marks)

The representation of gender in the clip given conveys interesting and thought provoking ideas and contrasts between characters.

The young women called Abbey, her character steers away from the stereotypical image of women, young women, she is portrayed as a strong and feisty female, √ this is evident in the shots where she is operating a mechanical machine, √ with much skill and efficiency also. A wide shot √ is used when we first see her √ to establish the scene and location (the woods and forest). √ The close ups also of the end of the digger fortifies the fact that Abbey is experienced in using such a machine √again reinforcing her non stereotypical √portrayal, she is given the impression of a tomboy. The mis-en-scene used also fortifies this point, she has a short almost boyish hair cut√ and wears a leather jacket √that makes us think of a character like Steve McQueen or perhaps “Greece”, √ mainly male, strong willed characters. √

The fact that she also fights the Sabre-toothed Creature, saving the man’s life shows her tenacity. The shot that this portrayed through is a continuity edit. Also the wide shot √of her running after the man being chased reinstates this point again, √ as the man, who stereotypically is supposed to be strong and courageous√ is in fact running and being chased, this is a contrast to the women who is running through the forest with a gun to help him for a second time! √The dark shape of the gun in her hands, reiterates, power, as a gun, is in this extract, power. √

The gentleman who is in a sky blue t-shirt is portrayed as more of an intelligent man, √brain rather then brawn. √When the sabre-tooth attacks there is a close-up √of him in the hole cowering, √this goes against the usual stereotypes of a man, a contrast between him and Abbey. Despite his cowering √he does show an instance of courageousness, √when he lures away the creature from Abbey. Despite this brave act he √still is running away from the sabre tooth tiger, √ a continuity edit is present when he is running and also when he uses the zip wire, √ close ups√ show fear and exhaustion on his face. The fact that he also uses his belt on the zip wire again shows his brains over brawn. √ The mise-en-scene of his clothes convey a more stereotypical view of the man, they are neutral and earthy colours and are dirty and strained, √ this helps paint more of a picture of a mans man, or someone who is not afraid of getting their hands dirty. √

The non-diegetic sound of the ambient sound-track helps √convey the tension and fear and also helps make the pace of the action a whole lot faster, especially in the chase scene, a combination of this music √and also the fast pace of the editing √raises the tempo and tension. The blurring and wipes X between each edit gives the action the impression that it is too fast to see and fortifies √the fact that the creature is very fast. The music becomes slower, but is ramped up with tension as (sounds?) drove on through the scene with the man with the shotgun, creating a sense of dread and anticipation! √This along with the wide shot and the man’s face, riddled with anger and malice, conveys a tension filled shot. √

The man who is wearing pink attire is portrayed as more of a pretty boy, √lover not a fighter, √the pink colour is more common to girls, women therefore gives him an air of effeminacy. √The rest of the cast wear mainly earthy colours or smart suits etc, whereas he wears feminine colours turning the stereotypical image of a man on its head. The fact that he also doesn’t have a gun √and instead, quite comically pulls a spade out, √whereas the other two people in the shot √both have guns, one a man and the other a women, this gives the impression that the women is almost more reliable than the man wearing pink.

The wide shot √showing the tree in the barn gives a very theatrical feel to it, almost tries to emulate√ a sense of bravado and coolness that other films use e.g. the opening shot of Reservoir Dogs. √Also the fact that there are three of them may portray symbolic qualities, like the three musketeers etc. √

The lady who is talking to the gentleman who breeds dogs is portrayed as a pristine, more of a stereotypical view of a lady. √This is conveyed through the sequence “My Best Coat”! √This provides a clear √insight into her personality. She is strong √whilst using words but when the man pulls out a gun a close up reveals her √devastation and fear. Even the colour of the ladies “Best Coat” is white, √which provides the thought of purity and pristine.

The over the shoulder shot and the cross cut editing √reveals the rising anger of the gentleman breeding the dogs. √He is weak when the pristine √women threatens him but has much more power when he picks up the gun. The line “won’t be pushed around anymore” indicates his explosion of anger. The diegetic √noise of the barking dogs also convey a sense of threat and hysteria. This shot conveys √the power of a weapon and also the power of words and how gender can be powerful. √

 This extract turns a lot of ideas mostly stereotypical views of gender on its head, which therefore gives the viewer an interesting watch. √     

	Level 4
Explanation/analysis/argument	20	20
Use of examples	20	17
Use of terminology	10	7
Total	50	44

F IS FOR FAKE (1973)

We watch a video tutorial on editing by Tony Zhou of Every Frame a Painting. It discusses how to edit effectively.

FILMMAKING

Video tutorial on the Quadrant System.

Drive (2011) - The Quadrant System from Tony Zhou

One of the many pleasures of Nicolas Winding Refn’s “Drive” (2011) is that the shots feel both tightly composed and weirdly unpredictable. Even though most of the images follow a simple quadrant system, Refn puts plenty of subtle touches within the frame. Let’s take a look.

 

REPRESENTATION: THE BECHDEL TEST

From Vogue

From Film School Rejects

COMING DOWN THE MOUNTAIN: DISABILITY

ER: AGE

DOWNTON ABBEY: CLASS AND STATUS

We watch the exam extract from Downton Abbey and analyse how film language constructs class and status.