Chiaroscuro lighting
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Chiaroscuro lighting uses strong contrasts between light and dark areas to create a low-key lighting style characteristic of film noir. This technique highlights key elements like a character's face while leaving other parts of the scene in shadow. Both The Hunchback of Notre Dame (1939) and The Devil and Daniel Webster (1941) effectively employed chiaroscuro lighting, such as highlighting a male character's face while shadowing his body in Hunchback or using window light to cast dramatic shadows on the floor, symbolizing psychological entrapment which was a common theme in detective films noir of the time period.
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Art house genre research
The genre of the film is described as an art house/auteur crossover that provides creative license while still following some conventions. Typical features include a focus on characters' psyche over plot and resolving storylines. The film will depict characters' hallucinations, feelings, and thoughts. The target audience values film as an art form over mere entertainment. Inspiring directors like David Lynch use dreams, imagination, and mental/physical hindrances in their films. Key iconography in the art house genre includes outlandish costumes, abstract locations, and the use of strange filters and lenses.
Is film noir a significant sub genre
Film noir is a subgenre of crime films characterized by shadows, mean streets, weird camera angles, and chiaroscuro lighting. It conveys messages about the world not being a good place, everyone having flaws, there being no happy endings, and the American Dream being broken. Techniques commonly used in film noir like these are still employed in movies today. The Hays Code also influenced film noir by requiring implications rather than explicit content due to films being viewed by all ages.
Film noir genre analysis
This document defines and analyzes the film noir genre. It discusses key themes like corruption and justice that are common in film noir. It originated after WWII, influenced by German expressionism and crime novels. Film noir uses iconography like venetian blinds and features morally ambiguous protagonists. It employs techniques like low-key lighting, Dutch angles, and flashbacks to create a mood of pessimism. Settings are usually dark urban areas and costumes reflect the 1940s-50s era. While originally for mature audiences, the genre has evolved over time into neo-noir films and graphic novel adaptations.
My Understanding of Thriller Genre – Codes and Conventions
Thrillers aim to keep audiences on the edge of their seats with anticipation and suspense. The protagonist faces a problem like an escape, mission, or mystery that builds tension throughout the film. Examples given are The Great Escape, The Silence of the Lambs, and North By Northwest. Flashbacks are used to create a feeling of disorientation and reveal characters' pasts. Techniques like low-key lighting, mirrors, and isolation are employed to make audiences feel uneasy and distort perception.
Conventions of film noir
Film noir is a genre of film inspired by hard-boiled crime novels that became popular in France. Common conventions of film noir include being shot in black and white to emphasize shadows and moods, settings in dark city alleys and tall buildings that isolate characters, dramatic lighting using shadows and contrasts, femme fatales that lure men into danger, cynical male protagonists such as detectives, and themes of money, guns, smoking, and reflections that add elements of mystery, danger, and suspense.
Documentary Script
The document discusses how horror films from Japan and Germany in the early 20th century effectively used sound and lighting to create surprise and suspense for audiences. It provides examples from seminal Japanese films like Ugetsu and Rodan from the 1950s that used diegetic sounds and ominous lighting to build atmosphere. German Expressionist films from the 1920s like The Cabinet of Dr. Caligari and Nosferatu are highlighted for their use of non-diegetic music soundtracks and dramatic shadows to convey fear without words. The document argues these audiovisual techniques were pioneering in immersing viewers and eliciting strong emotional responses.
Com 248 Mise en Scene Powerpoint
The document discusses the film The Royal Tenenbaums (Anderson, 2001) multiple times but also references Moonrise Kingdom (Anderson, 2012). It then defines key light, fill light, and backlight which are used in film lighting. It continues discussing high key lighting and how it conveys a sense of normalcy and is used in genres like comedies and musicals. In contrast, it also discusses low key lighting and how it conveys abnormal moods through stark contrasts between light and shadows. Examples of works that use both high key and low key lighting are provided.
WCC FILM 100 PSYCHO SCENE ANALYSIS REVIEW
The document analyzes the famous "Parlor Scene" in Alfred Hitchcock's Psycho. It discusses how Hitchcock uses lighting, camera angles, character placements and set details to visually portray Norman Bates' twisted psyche and hint that he and Marion are very different. Marion is lit softly near a lamp, making her seem redeemable. Norman is in shadow and filmed from an unsettling low angle, showing his warped perspective. The analysis examines how every visual element is deliberately chosen by Hitchcock to create meaning and subtext.
Evaluation Question One
The document analyzes how the media product uses and challenges conventions of real media forms. It summarizes that the protagonist is an unconventional character that blends genres. Both the protagonist and antagonist begin vulnerable but become terrified. The antagonist uses intellect over strength, which is conventional of thriller and psychological genres. The plot involves conventional elements like a goal to retrieve memory, and the antagonist removing it. The lighting, sound, and editing styles aim for realism to relate to the character, while the credits, subtitles and colors subliminally reinforce themes.
eg
Film Noir is a genre of stylish American detective films from the 1940s-1950s known for its dark, black and white visuals depicting an underworld atmosphere. Some key conventions include low-key lighting that uses shadows and chiaroscuro effects to make characters feel trapped, Dutch angles, and wide angle lenses. While the genre dealt with themes of corruption in America's legal system, its visual style and conventions, such as distinctive uses of shadows, are no longer common in modern films, distinguishing Film Noir as a distinctive genre of its era.
Five media theoretical ideas
This document discusses five media theoretical ideas: genre theory, audience theory (cultivation theory), mediation and stereotyping, Todorov's narrative theory, and semiotics. It provides definitions and examples of each theory. Genre theory examines how texts are categorized into genres and subgenres. Cultivation theory proposes that television shapes viewers' perceptions of reality. Mediation theory explores how media constructs alternate realities through selection, organization and focus. Todorov's theory analyzes common narrative patterns in stories. Semiotics studies signs and their meanings in communication and media.
Thriller movies
Thrillers are designed to keep the audience in anticipation and guessing through techniques like quick cuts, flashbacks, and manipulation of time and space. Common conventions include the use of mirrors to reflect a character's inner self, shadows to build tension, and black and white cinematography to create an eerie tone. Successful thrillers from different eras prey on the minds of characters and aim to mentally demolish them through deceptive mind games and puzzles that keep changing the picture until the ending.
Thriller movies
Thrillers are designed to keep the audience in anticipation and guessing through techniques like quick cuts, flashbacks, and manipulation of time and space. Common conventions include the use of mirrors to reflect a character's inner self, shadows to build tension, and black and white cinematography to create an eerie tone. Successful thrillers from different eras prey on the minds of characters and aim to mentally demolish them through deceptive mind games and puzzles that keep changing the picture until the ending.
Film posters analysis
This document analyzes film posters for classical noir and neo noir films. For the classical noir poster of "Killers", it summarizes that the poster uses symbolism like the male cradling the femme fatale to show her manipulation of him, and two men carrying guns and casting shadows to represent violence and the protagonists hiding from their crimes. For the neo noir poster of "The Dark Knight", it summarizes that the dark color scheme represents violence and doom, while modern elements like the billing box update the classic noir style for modern audiences. The analysis provides insight into features to include in a noir film poster.
Media horor
The document discusses researching the horror genre for inspiration in creating a low-budget trailer. It notes that horror is cheap to produce and audiences are familiar with common tropes. It then summarizes key details about four influential horror films - Let the Right One In, Psycho, Nosferatu, and The Shining - focusing on their directors' techniques in building atmosphere and tension through camerawork, music, lighting and Jack Nicholson's iconic psychotic character.
Conventions of film noir g321
Film noir conventions include settings in urban areas like Los Angeles, San Francisco, New York and Chicago that act as mazes. Scenes often take place at night in bars, clubs or other locations associated with crime, under low-key lighting that creates dramatic shadows. Noir films also feature convoluted narratives with flashbacks and voiceover narration by the protagonist, usually a detective seeking justice against criminals motivated by greed and jealousy. They explore dark themes of corruption in society and human psychology.
Evaluation
The document discusses conventions of supernatural horror films and how the media product challenges or develops these conventions. Specifically, it discusses how the plot follows a conventional haunted house storyline. It also explores how elements like costumes, props, lighting, sound, editing, and camerawork both challenge conventions and adhere to them. For example, it uses more blood than typical but doesn't use common props like dolls or toys. It represents the main characters as young white females and does not include male or minority characters. The representations of the female characters both challenge and reinforce ideologies about gender.
Film noir
Film noir is a genre of stylish American detective films from the 1940s-1950s known for its dark, black and white visuals depicting an underworld atmosphere. Key conventions include low-key lighting that casts dramatic shadows, Dutch angles, and wide angle lenses. Directors experimented with visual techniques like putting characters' faces in the shadows of blinds to make them look trapped. While the genre influenced later films, its distinctive visual style and conventions set it apart from other genres of the time.
Film noir
Film noir developed between the 1940s and 1950s and was defined by femme fatales, cynical detectives, and use of light and dark (chiaroscuro) to create mystery. Key conventions included women in red dresses and long gloves smoking cigarettes, and men drinking, doing detective work in suits while smoking cigarettes. Neo-noir, which emerged later, updated the genre with modern elements while keeping the dark tone.
The impact of_german_expressionist_films exam prep
German Expressionist films of the 1920s had a significant impact on modern cinema through their distinctive visual style and themes. Films like The Cabinet of Dr. Caligari used expressionist techniques like angular sets, contrasting lights and shadows, and distorted realities to portray inner emotional turmoil and critique the post-WWI social environment in Germany. These films influenced later horror genres and film noir styles in both Germany and Hollywood. Directors like Fritz Lang, F.W. Murnau, and Alfred Hitchcock integrated expressionist elements into their own works, spreading its techniques even further. Modern films from Blade Runner to Tim Burton's works still reference the expressionist influence in their dark, symbolic visuals and unsettling subjects.
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The document discusses readership data for film magazines Empire and Total Film. It notes that ABC1 and C2DE social classes were more likely to read Empire than Total Film. The target age bracket of 15-44 reads both magazines the most, and within that bracket Empire is more popular. The table also suggests that men are more likely to read film magazines than women.
Applying syd field’s paradigm
The document applies Syd Field's paradigm of screenplay structure to the film Fish Tank. It summarizes the key plot points and events in the film according to Field's paradigm, including Mia meeting Connor as the inciting incident, their physical relationship as the first pinch, Connor leaving his mother as the midpoint, Mia seeking out Connor as the second pinch, discovering a video of Keeley as the second plot point, Mia kidnapping Keeley as the showdown, and Mia being hit by Connor and not completing her dancing audition as the resolution.
The genre of british social realism
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
The genre of british social realism
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
Eastenders, submarine, only fools and horses
The document summarizes representations of the working class in several British TV shows and films. In a soap opera, a male character towers over a female and looks harsh while she smiles happily. A sitcom features three shabby male characters who live together and try to get rich through theft and fraud. A film called Submarine portrays an unhappy working-class couple in dead-end jobs who seek excitement to escape their routine lives.
The Representation of the White Working Class in Eastenders
In a British soap opera episode from December 9th, 2011, the mis en scene representation of men and women shows the male character towering over and taking up more space than the smiling female, wearing a suit and looking businesslike compared to her plain denim jacket and blonde hair. The male is shown frowning and looking harsh and menacing while speaking down to and bringing up the woman's past, hinting she was a stripper, as the natural lighting captures their interaction.
A2 Production Moodboard
This mood board explores issues facing youth culture such as teen drinking, teenage pregnancy, broken families, parent-child relationships, gangs, council estates, and school in an urban city centre environment. Key themes include risks and challenges facing modern teenagers as well as their social and family relationships.
Moodboard
This mood board explores issues facing youth culture such as teen drinking, teenage pregnancy, broken families, and poor parent-child relationships. It also examines challenges like gangs, council estates, and city centers as well as the influence of school.
Attract audience
The document summarizes how the film attracted its target teenage audience of ages 16-24. It did so by featuring a 16-year-old protagonist they could identify with, depicting a conflict with parents they may have experienced, setting it in a familiar council estate location, and using an dramatic opening scene with raised voices and mild violence to draw the audience in and encourage them to watch more.
Media theory
The document discusses different types of camera angles that could be used in a film production, including establishing shots, mid shots, close ups, extreme close ups, long shots, extreme long shots, birds eye view shots, point of view shots, and over the shoulder shots. It provides examples of when each type of shot would be suitable and considerations for whether they could be included in the film being discussed.
Evaluation
The document provides an evaluation of a film project based on feedback received. It discusses three key areas that needed improvement: 1) Removing the "Working Titles" logo as the production style did not fit; 2) Improving the transition between music and footage to make it more polished; 3) Executing cuts between shots more smoothly to improve flow and achieve a professional look. It also notes the film could have better expressed emotions through closer shots of the protagonist's face.
Y outh 247
The document describes a group of youths who are smoking and one has a gun. It criticizes them for wearing tracksuits, being unemployed and lazy, having no goals or respect for themselves, their health, or the law. They are described as dishonest citizens who are alcohol abusers, unhygienic, and have no priorities or morals.
Media pitch
The film will take place mostly on a council estate nicknamed "White City" and will focus on a young girl growing up there who dreams of a better life. She must take care of her siblings because her alcoholic mother is unable to. The film will feature characters of various ages and will be shot on a real estate in Water Orton. It draws inspiration from films like "Fish Tank" and "Bullet Boy" in its themes of family and conflicts between parents and children.
Bullet boy
The opening titles of "Bullet Boy" last for 41 seconds and fade in over a dark shot of a male lying down, creating mystery. There is no dialogue for the first minute, when the audience sees the main character, a young male in a bright prison cell. A long shot then shows the character separated from police by a desk, representing how he is perceived as an outcast. The character speaks for the first time with a strong London accent, establishing the British social realism setting of the film. The editing pace increases at the end, cross-cutting between the character and another male in a car to build tension and connect the two.
Yasmin
The film starts silently with opening titles for fourteen seconds. The first characters shown are an elderly Muslim man in traditional clothes and a young Muslim man in Western clothes, showing a contrast between old and young cultures. Rustic graffiti is shown indicating the film will address racism in the Muslim community. Throughout the opening, Arabic singing plays parallel to slow, relaxed scenes. An establishing shot shows the run-down community setting the scene for the characters' living conditions. A woman is seen changing secretly from traditional to Western clothes, showing cultural conflict and raising questions.
Bulletboy
The opening 2 minutes of the film "Bullet Boy" are analyzed. The titles last 41 seconds and fade in over a dark shot of a male. There is no dialogue until the 1:06 mark, when a young male in a prison cell is shown in a brightly lit scene. A long shot then shows the male separated from police officers by a desk, representing how he is perceived as an outcast. His strong London accent also sets the scene as a convention of British social realism films. The editing increases at the end, cross-cutting between the first male and one in a car to create tension and connect the two.
Kidulthood
The opening two minutes introduce two female characters dressed in disheveled school uniforms with strong London accents. Through mid-shots of their interactions in a run-down looking school setting, these establishing shots begin to set the scene and tone for a gritty British realistic drama focused on unknown youth actors in a single location.
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[To download this presentation, visit:
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MIT’s Digital Transformation Framework
Gartner’s Digital Transformation Framework
Accenture’s Digital Strategy & Enterprise Frameworks
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PwC’s Digital Transformation Framework
Cisco’s Digital Transformation Framework
Cognizant’s Digital Transformation Framework
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2022 Vintage Roman Numerals Men Rings
Discover timeless style with the 2022 Vintage Roman Numerals Men's Ring. Crafted from premium stainless steel, this 6mm wide ring embodies elegance and durability. Perfect as a gift, it seamlessly blends classic Roman numeral detailing with modern sophistication, making it an ideal accessory for any occasion.
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Chiaroscuro lighting
- 1. FILM NOIIR CHIAROSCURO LIGHTING
- 3. THE HUNCHBACK OF NOTRE DAME (1939) The male’s face is highlighted through strong lighting. In contrast to this, the rest of his body is in shadow. The effect of this is that the audience really focus on the male’s face, especially his eyes which make us wonder what he is thinking.
- 4. THE HUNCHBACK OF NOTRE DAME (1939) The light coming through the window is creating a strong shadow on the floor. This is a popular Film Noir technique that is usually used to symbolise how a character is trapped within themselves or has a psychological feeling of being trapped within the mind. (Therefore, this technique was often used in detective movies).