sample assignment

1. Scene 11: BCU of Dortlich’s facial expression
Shows Dortlich in pain, as if he knows he is about to be
claimed as Lecter’s victim.

2. Scene 12:CU of the rope
The blood splattering on the rope represents the death of
Dortlich.

3. Scene 13: CU of the blood splattered on Lecter’s face
CU shot showcases Lecter’s satisfaction of the murder.

4. Lighting
• Source: The point of origin and the direction
of its beams
• Type of lighting: affects the meaning of shot
• Colour of the light
• Quality: includes the light’s brightness and
continuity
(Butler A. M.,2005)

5. Lighting
• Outdoor lighting
• Outdoor illumination is primarily
accomplished by sun
• Diffusion through the trees
• Constructs a horror/thriller mode
• Light can enhance the genre of a film such as
the diffusion of light used in this film.
• E.g: in the lab, in the ship

6. In this scene, the light is diffused by the trees, thereby
creating a soft illumination.

7. The dim light in the laboratory creates the ambience of
horror.

8. The darkness of the lighting in the ship grabs the
audience’s curiosity for the next scene of the storyline.

9. Costume
• Act as a pointer to their personality or style
• Shows the status of a person
• Make clear to the audience what era is the
film from
(Butler,2005)

10. The thick jacket is the hint to tell the audience that the
weather is extremely cold.

11. Make-up
• Usually invisible, aesthetics of the film
(Butler,2005)

12. • The makeup on Grutas acts in portraying Grutas as a savage.
• Lecter’s face is clean and grime-free, this perhaps is indicative of the fact
that he comes from a refined, educated background.
• Make-up creates division between social classes.

13. Mise en shot
• The process of translating mise en scene into
film is called mise en shot.
• To create a film an interaction must exist
between mise en scene & mise en shot.

14. Continuity Editing
• To cohere various shots to produce a scene.
• The axis of action line
• The eye line match
• The match on action cut

15. The Eye Line Match
• Scene: When Hannibal finally puts Mischa to
rest.

16. The Match on Action Cut
• Occurs throughout Dortlich’s strangulation
scene.

18. Diegetic Sound
• Sound whose origin is to be located in the
story world.

19. Narratives
• What is shown / depicted in the film.
• Comprises of actions, events & characters.
• Aid in the storyline’s cause & effect.

20. Narratives in 3 stages
• Pioneered by Tzvetan Todorov:
• A state of equilibrium.
• The disruption of this equilibrium by an event.
• The successful attempt to restore the
equilibrium.

21. Linear & Chronological
• Narratives of a film: linear & chronological.
• A flashback disrupts the linear order of the
film.

22. Upsets a film’s cause-effect logic

23. Additional Elements
• Exposition
• Obstacle
• Deadline

24. Narration
• A tool that determines how narrative
information is conveyed to the spectator.
Omniscient Narration
• Viewers are offered the ability of all-
seeingness.
• Functions to create suspense.
(Buckland, 2010)

25. Psychoanalysis
• Coined by Sigmund Freud
• To describe his theories & techniques for
finding & curing the mental problems of his
patients.

26. Id, Ego & Superego
• Id
• It operates by The Pleasure Principle.
• Selfish & yearns for immediate gratification.
• Ego
• It operates by The Reality Principle.
• It battles against the Id.

27. Id, Ego & Superego
• Superego
• Super monitors the ‘Id-Ego’ battle.
• Described as our ‘conscience’ or ‘moral
watchdog’.

28. The Libido
• Does not infer to sex drive in this particular
context.
• But an INBORN ENERGY we have that
motivates & enables us to survive.

29. The Defence Mechanism
• Functions in unconsciously protecting
ourselves from unpleasant ideas.
• Helps in our everyday survival.
• Over usage causes fixation & identification
problems.

30. Combating Defence Mechanism
• Displacement: diverting your energy (Libido)
into another activity.
• If something frustrates or if someone annoys
us, we tend to ‘take it out’ on someone else.
(Benson, 2007)

31. Bibliography
• Anon., 2007. Official website: Hannibal Rising. [Online]
Available at: http://www.hannibalrising.com/site/index.html
[Accessed 18 April 2014].
• Anon., 2008. IMDb.com, Inc.. [Online]
Available at:
http://www.imdb.com/name/nm0916424/bio?ref_=nm_ov_bio_sm
[Accessed 18 April 2014].
• Bordwell, D. & Thompson, K., 1997. Film Art: An Introduction. 5th
ed. New York: The McGraw- Hill Companies Inc..
• Buckland, W., 2010. Understand Film Studies. 4th ed. London:
Hachette UK Company.
• Butler, A. M., 2005. Film Studies. 1st ed. Herts: Pocket Essentials.
• Monaco, J., 2009. How To Read A Film: Movies, Media, and Beyond.
4th ed. New York: Oxford University Press.
• Nelmes, J., 2012. Introduction To Film Studies. 5th ed. New York:
Routledge.