Spec & Resp - Lesson 11 Opening Sequences

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Spec & Resp - Lesson 11 Opening Sequences

  1. 1. LEARNING OBJECTIVES Re-fresh our understanding of ‘Alignment’ Complete an in-depth analysis of the opening sequences from both A Clockwork Orange & Full Metal Jacket Consider previous exam questions and the different ways we can approach them
  2. 2. PREVIOUS EXAM QUESTIONS„Emotional response to a popular film is dependent on the ways in which we are made to identify with particular characters.‟ How far has this been your experience? [35] Using your handouts, mind map the different topics you would need to discuss when answering this question
  3. 3. ALIGNMENTALIGNEMENTThe process of adjusting parts so that they arein proper relative positionALIGNEMENT is the process ofidentification with something or someone.As film students we must refer to the wayspectators are encouraged – through microand macro features – to relate to characters’emotions as well as adopt their points of viewThe emotional impact of a film frequentlydepends on spectator alignment with centralcharacters
  4. 4. ALIGNMENTIn your exam you will be expected to analysethe ways that Kubrick attempts to ‘Align’ thespectator with the character of AlexYou must be able to support all of your pointswith textual analysis of the film, commentingupon• Cinematography• Sound• Editing• Performance• Mise-en-scene
  5. 5. CLOCKWORK ORANGESWatch the following sequence and make noteson following: How does the sequence attempt to provoke an emotion response? How is the spectator encouraged to ‘align’ with the character of Alex? Consider: Camera Editing Sound Mise-en-scene Performance
  6. 6. OPENING SEQUENCEThe film begins with a blood red screen accompanied by thenon-diegetic, synthesised musicThe scene then cuts to a C/U of Alex’s face,drawing our attention to his unusual eye make-up– framing his cold blue eyeHis face is split in two by the make up establishinghis two-faced personaThe left suggests he is a young attractive manbut the dark right side of his face overshadowsthis aspect and instils fear / uncertainty in theaudience
  7. 7. OPENING SEQUENCEThe C/U of Alex serves several purposes: 1. Introduction of Alex as protagonist 2. Highlight Alex’s make up – this constructs Alex as non-typical male and a mysterious character 3. He maintains direct eye contact with the spectator and as individuals we feel he is looking at usHe is the only character making contact with theaudience – encouraging us to align with him at thisearly stageAs the camera tracks backwards to reveal the bar weimmediately establish his disrespect of women – amajor theme of the film
  8. 8. THERE WAS ME...The first line of the film is “There was me, that is Alex, and my three Droogs”From the very beginning Alex sets himself apart from hisgroup and clearly sees himself as the leader of The Droogs Identifying himself as the leader encourages us to align with him over the others, and reinforces the feeling that Alex will be our guide throughout this strange, unfamiliar landscape
  9. 9. THERE WAS ME...The environment is unusual, as are thecostumesThe spectator has no point of reference and areencouraged to align with Alex as they attemptto make sense of this strange worldHis mention of ultra-violence may makespectators uneasy and heighten anticipation, orfear, of the violence that is promised by Alex
  10. 10. CLOCKWORK ORANGESWatch the following sequence and make noteson following: How does the sequence attempt to provoke an emotion response? How is the spectator encouraged to ‘align’ with the character of Alex? Consider: Narration Camera Editing Sound Mise-en-scene Performance
  11. 11. IT’S A STINKING WORLDNarration is a technique used by filmmakers togive the audience an in-sight in to a charactersmind set and motivationsAlex’s narration forces the audience to adopt hisperspective of the world and in inherently biasThe spectator is encouraged to become extremelyintimate and engaged with Alex
  12. 12. IT’S A STINKING WORLDDespite the abhorrent violence seen throughout thefilm we are encouraged to like Alex as we see howimmature and naive he isKubrick purposefully restricts our view of theworld and deprives us of other people perspective –we are forced to adopt Alex’s view of the world orreject the film entirely
  13. 13. IT’S A STINKING WORLDAlex and his three accomplices are wearing pure whiteoutfits, accented by black hats and black bootsAlex also has two bloody eyeballs attached to the cuffs ofhis sleeves, a chilling splash of colour against hisotherwise neutral attireOn top of everything Alex wears a suspender-likeapparatus that accentuates his sexual organs. This also iswhite and makes the outfit somewhat obscene andawkward to look atThough the white and black colours of the outfit makeAlex look clean and well kempt, the suspenders and theeyeballs on the sleeves mar the costumes respectability.
  14. 14. CLOCKWORK ORANGESWatch the following sequence and make noteson following: How does the sequence attempt to provoke an emotion response? How is the spectator encouraged to ‘align’ with the character of Alex? Consider: Narration Camera Editing Sound Mise-en-scene Performance
  15. 15. EXAM PRACTICE Using your handouts from the beginning of the lesson, add to the mind map the different topics you would need to discuss when answering this question With reference to the films you have studied for this topic, explore some of the film techniques that are particularly powerful in triggering an emotional response in the spectator. [35]Using your notes from today’s lesson, write a short answer to thefollowing question
  16. 16. FULL METAL JACKETWatch the following scenes from Full Metal Jacket andmake notes on how the following IS a main character presented to the audience? Are we encouraged to align with a certain character? Why do you think Kubrick began the film in this way?

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