Evaluation 1
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Our film features a nonlinear narrative with flashbacks such as a news report of a memory. The first two minutes can be interpreted out of order as the film is about clones infiltrating society. Characters wearing different clothes after a flashback leaves it ambiguous if they are the same characters or clones. Time skips are also used, such as a week passing when characters enter a parking garage to cut unnecessary time.
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Zombieland analysis
The title sequence of Zombieland establishes it as both a horror and comedy film through various indicators. It shows iconic horror elements like gore and the colors red and black. However, it also depicts comedic conventions, such as a zombie interrupting a wedding. While the sequence exposes viewers to many scenes and characters, it does not clearly convey the narrative or main protagonists. The slow-motion cinematography adds humor and offsets the gore.
Costume research
The document discusses costume options for portraying female teenagers in a British social realism film. It eliminates a middle-class woman's style as not suitable for the 17-19 year old characters. Tracksuits are identified as fitting the genre because they stereotypically represent teenagers, council housing, and cheap clothing. The group chooses to follow these stereotypes to effectively set the scene of the film's opening, likely having the female character wear tracksuits while running.
Apply narrative to one of your coursework productions
This document discusses the narrative elements in a music video the author created for their coursework. It analyzes how various film and narrative theories were applied to tell the story and engage the audience. Binary oppositions between indoor and outdoor scenes were used to represent the "living" and "dying" states mentioned in the song. Todorov's theory of narrative structure provided an original equilibrium, disequilibrium, and new equilibrium. The mise-en-scene and costumes further developed the narrative and relationship of the artist through ideas like voyeurism and how she challenges or accepts the male gaze. Overall, the author believes the polysemic narrative kept the audience engaged and allowed different interpretations of the story.
Audience of film noir
Film noir genres typically have different target audiences. While some say film noir appeals to older audiences who grew up with films from the 1940s, others argue it interests younger people curious about that era and crime's evolution. However, many recent film noirs are unsuitable for younger viewers due to high age ratings from violence and sexual content. The target gender audience for film noir is typically male, as shown by its history and use of attractive femme fatales. While the protagonist may fall for these women, they often have flaws like affairs. In conclusion, the target gender is male, but the age audience can still be debated as both older and younger groups may enjoy film noir depending on its specific content.
Audience of film noir
The audience of film noir includes people interested in film generally, from media students to avid film lovers, who want to be entertained and thrilled by the crime, romance, and drama typical of the genre. Set primarily in 1940s-1950s American cities like New York, film noir provides perspective on those eras while also appealing to those interested in more modern neo-noir films depicting dark themes through updated styles and visuals. Film noir attracts a wide demographic due to its varied elements beyond any single gender or age.
Film Noir target audience
Film noir has long been debated over who its target audience is. Some argue it is aimed at older audiences aged 40-80 who grew up with film noir, while others say younger audiences watch to understand 1940s culture. However, more recent films are rated 18+ due to violence and sex. Film noir also targets males through the use of femme fatales and stories centered around male protagonists and their romantic interests. In conclusion, while the target gender is male, the target age is still unclear as films noir could appeal to both young and old audiences.
Spaced homework
This review summarizes an episode of the comedy series "Spaced" starring Simon Pegg and Nick Frost. The reviewer notes that the episode features frantic camera movements that reflect the hectic story and Pegg's character. While some aspects of the dated show made the reviewer cringe, the humor of actors Pegg and Frost overall made the episode enjoyable to watch.
Advanced portfolio ideas generation
The students propose a short romantic comedy film that demonstrates their understanding of genre and narrative theory. They choose the hybrid genre of rom-com because it appeals to a wide mainstream audience. The film will follow a linear narrative and include conventions of the genre like stereotypical characters and settings. However, it will also challenge conventions by having the male character subvert expectations of dominance and featuring everyday locations rather than romantic cities. Camera shots, editing, music and costumes will be realistic to match the genre.
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Zombieland analysis
The title sequence of Zombieland establishes it as both a horror and comedy film through various indicators. It shows iconic horror elements like gore and the colors red and black. However, it also depicts comedic conventions, such as a zombie interrupting a wedding. While the sequence exposes viewers to many scenes and characters, it does not clearly convey the narrative or main protagonists. The slow-motion cinematography adds humor and offsets the gore.
Costume research
The document discusses costume options for portraying female teenagers in a British social realism film. It eliminates a middle-class woman's style as not suitable for the 17-19 year old characters. Tracksuits are identified as fitting the genre because they stereotypically represent teenagers, council housing, and cheap clothing. The group chooses to follow these stereotypes to effectively set the scene of the film's opening, likely having the female character wear tracksuits while running.
Apply narrative to one of your coursework productions
This document discusses the narrative elements in a music video the author created for their coursework. It analyzes how various film and narrative theories were applied to tell the story and engage the audience. Binary oppositions between indoor and outdoor scenes were used to represent the "living" and "dying" states mentioned in the song. Todorov's theory of narrative structure provided an original equilibrium, disequilibrium, and new equilibrium. The mise-en-scene and costumes further developed the narrative and relationship of the artist through ideas like voyeurism and how she challenges or accepts the male gaze. Overall, the author believes the polysemic narrative kept the audience engaged and allowed different interpretations of the story.
Audience of film noir
Film noir genres typically have different target audiences. While some say film noir appeals to older audiences who grew up with films from the 1940s, others argue it interests younger people curious about that era and crime's evolution. However, many recent film noirs are unsuitable for younger viewers due to high age ratings from violence and sexual content. The target gender audience for film noir is typically male, as shown by its history and use of attractive femme fatales. While the protagonist may fall for these women, they often have flaws like affairs. In conclusion, the target gender is male, but the age audience can still be debated as both older and younger groups may enjoy film noir depending on its specific content.
Audience of film noir
The audience of film noir includes people interested in film generally, from media students to avid film lovers, who want to be entertained and thrilled by the crime, romance, and drama typical of the genre. Set primarily in 1940s-1950s American cities like New York, film noir provides perspective on those eras while also appealing to those interested in more modern neo-noir films depicting dark themes through updated styles and visuals. Film noir attracts a wide demographic due to its varied elements beyond any single gender or age.
Film Noir target audience
Film noir has long been debated over who its target audience is. Some argue it is aimed at older audiences aged 40-80 who grew up with film noir, while others say younger audiences watch to understand 1940s culture. However, more recent films are rated 18+ due to violence and sex. Film noir also targets males through the use of femme fatales and stories centered around male protagonists and their romantic interests. In conclusion, while the target gender is male, the target age is still unclear as films noir could appeal to both young and old audiences.
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This review summarizes an episode of the comedy series "Spaced" starring Simon Pegg and Nick Frost. The reviewer notes that the episode features frantic camera movements that reflect the hectic story and Pegg's character. While some aspects of the dated show made the reviewer cringe, the humor of actors Pegg and Frost overall made the episode enjoyable to watch.
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Presentation1
Martin Scorsese was born in 1942 in New York City and was raised in Little Italy, which inspired some of his films. He earned degrees in film from New York University. Scorsese is considered an "auteur" director with a distinctive style who frequently collaborates with actor Robert De Niro. The document discusses Scorsese's films Taxi Driver (1976), Goodfellas (1990), and Raging Bull (1980), noting they are set in New York, feature Italian American characters and culture, and open with intimate shots of the main characters that set the films' tones.
Lh close analysis
The document provides discussion questions about the French film "La Haine" which explores urban poverty and conflict in the suburbs of Paris. It asks the reader to analyze and interpret various scenes from the film focusing on themes like:
1) The representation of the police and the backgrounds of the three main characters Vinz, Hubert, and Sayid.
2) Symbolic elements like the music playing during the opening credits and what locations and characters reveal about their circumstances.
3) Tensions between the characters addressed in scenes like their argument in the bathroom over perceived slights and aspirations.
4) The broader social commentary on issues like lack of opportunity for the characters and disenfranchisement.
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Mise en scene plan
The document discusses costume, location, lighting, and prop choices for a short film opening sequence. The antagonist will wear dark, concealing clothing with a hood and gloves. The victims will wear regular teenage clothing to appear vulnerable. The protagonist's older brother costume will seem more approachable. The preferred location is an abandoned cattle market to seem industrial and lonely. The backup plan is a more public industrial area. The lighting will be overcast dusk for an eerie thriller feel. Props like everyday objects will be used as weapons to show the antagonist's instability and lack of planning.
Outlaw Poster
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1. codes & conventions
The document discusses continuity of time setting through props and costumes in film opening sequences, such as using sepia tones for Gladiator to indicate a historical setting. It also analyzes the author's own opening sequence for a film called "Repressed Memories," noting the use of techniques like jump cuts, cross dissolves, and old English font to establish the 16th century time period, while acknowledging some elements may not show full continuity. Examples from other films like Gladiator and Troy are provided.
Micro analysis of La Haine - Opening
The document summarizes and asks questions about several opening scenes in the film "La Haine". The scenes introduce the three main characters: Said, Vinz, and Hubert. Said is first seen being chased by police, establishing his distrustful relationship with authority. Vinz's room shows American pop culture influences, revealing aspects of his background. Hubert lives in run-down housing projects and struggles to help his sister with schoolwork, illustrating the challenges of his environment. Overall, the opening scenes set up the characters and social tensions experienced by youth in the French banlieues.
Qualitative Research
The document discusses the evolution of different styles and genres in horror films over time, from their origins in German Expressionism to modern slasher films. It traces how techniques like expressionist lighting and set design influenced later styles like film noir and gothic horror. Additionally, it notes how modern horror films have become more gory and controversial by explicitly showing violence, in contrast to earlier eras where more was left to the viewer's imagination.
Photo analysis
- The first photo shows a group of young boys in uniforms on bicycles, appearing to be part of the Hitler Youth. The setting seems rural and in black and white, showing it was taken long ago in perhaps Berlin.
- The second photo depicts a group of tan, shirtless men huddling together who appear to be in the army at an airplane base, suggesting it was taken during the Vietnam War in the 1950s summer.
- The third photo clearly has to do with alcohol prohibition, as the identically dressed men on freshly bricked sidewalks were likely protesting prohibition, as their fashion style dates it to the 1920s or 1930s.
Clothing for music video scenes
The document discusses clothing options for two actors, Morty and Will, across six different filming locations - a road, pathway, car park, skate park, garage, and prison. For the outdoor road scene, Morty will wear a sweatshirt and dark jeans, while Will wears a coat and blue jeans. Their clothing remains the same in the continuance of the narrative across multiple locations. At the skate park, car park, and pathway, Will wears a hoodie and Morty a bomber jacket. In the indoor garage, plain t-shirts are suggested. For the prison scene, plain clothing will be used but modified to look like prison attire, such as adding a number without using the color orange.
Evaluation: Q2
The document discusses how the thriller film portrays gender, age, and class in a negative way through three key elements:
1) Gender is portrayed through an alpha male lead and a chase scene with no female characters, showing a stereotypical view of such scenes belonging to men.
2) Age is shown through youthful actors, run-down setting, fast editing and music, contributing to the portrayal of teenagers as dangerous to older audiences.
3) Class is depicted through a lower-class setting, actors dressed in tracksuits and baggy jeans, and a rap/grime soundtrack, indicating the film focuses on the lower classes.
Q2
The document discusses how a 2-minute film opening represents various social groups. It primarily features a young, independent white male protagonist. Scenes aim to be relatable to male audiences by showing the character alone in isolated or desperate situations, similar to films like Watchmen and I Am Legend. Costumes feature typical modern male attire like plain white tops and black pants. Both main characters represent confident or desperate males, which could also be relatable to female audiences. The target audience is young males aged 18+ due to mature themes and violence.
Postmodern media manipulates time and space
The document discusses how postmodern media manipulates time and space through three examples:
1) The TV show "Family Guy" uses non-linear narratives and self-reflexive humor to manipulate time and space. An episode parodies "Star Wars" by interrupting the storyline.
2) The film "Drive" uses contrasting mise-en-scene of cars and costumes to confuse the audience's sense of time period.
3) The film "Scott Pilgrim vs. The World" applies video game rules like battling evil exes, defying the laws of physics and reality. Both films create ambiguous or hyperreal worlds through manipulating time and space.
Analysis of Opening Sequence
The opening sequence of "The Big Combo" effectively sets the film noir tone and introduces key elements:
1) An aerial establishing shot presents the city as a dark labyrinth engulfing the characters in mystery. Panning shots reveal a nighttime city illuminated by sparse lighting, connoting potential criminality.
2) A woman runs frantically through dark alleys, chased by two men, establishing her as the "femme fatale" and creating suspense about her pursuers' motives.
3) The complex city streets function as a maze, trapping the characters, consistent with the film noir theme. The woman ultimately asserts control by demanding her pursuers stop for food
Q2
The document discusses how a 2-minute film opening represents various social groups. It primarily features a young, independent white male protagonist. Scenes aim to be relatable to male audiences by showing the character alone in isolated or desperate situations, similar to films like Watchmen and I Am Legend. Costumes feature typical modern male attire like plain white tops and black pants. Both main characters represent confident or desperate males, which could also be relatable to female audiences. The target audience is identified as males aged 18+ due to mature themes and violence.
Evaluation 1
The film features a nonlinear narrative with flashbacks and time skips. The genre is ambiguous, containing elements of horror, drama, thriller, and sci-fi due to themes of clones and a post-apocalyptic setting. While the cinematography is not groundbreaking, some shots effectively convey tension. There are some continuity issues with clothing and car placements that could be explained by clones appearing different. The sound design, particularly the unsettling music choices, enhances the film's tone. Clothing and locations were deliberately chosen to fit the dirty, post-apocalyptic aesthetic.
Evaluation 2
The document summarizes the representation of social groups, particularly males and females, in the first three minutes of a film. For males, the characters are portrayed in stereotypical ways for the genre, with one male shown as dim-witted but also as capable leaders. Males are depicted as both violent when arguing but also able to remain calm. For females, one character follows the males' leads initially but also acts as a voice of reason. Both characters are treated similarly to males in filming without objectification. Other social groups like parents are not represented within the short timeframe but could be portrayed similarly to other works in later portions of the film.
Eval question 1 powerpoint
This document compares the filmmaker's thriller "Beaten" to other media works that use zombie conventions such as 28 Days Later, The Descent, Michael Jackson's "Thriller" music video, and the video game Left 4 Dead. It analyzes similarities and differences between the works in terms of plotlines, characters, editing techniques, camerawork, titles, and action sequences. Overall, the document shows how "Beaten" both develops typical zombie genres conventions while also challenging some conventions through its unique story elements and filmmaking choices.
So without any timepass let.docx
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Shot anayalsis slideshare
The document analyzes shots from two existing music videos and discusses how they can influence the filming of a new music video. It describes several effective shots that create emotion, like a close-up of an actor's face, and shots using old footage that enhance the narrative. Specific shots of soldiers are discussed in detail, like a mid-shot of a soldier walking and a reverse tracking shot that shows the deserted landscape. The importance of costumes, makeup, lighting and iconography in establishing themes like war is also covered. Over-the-shoulder shots that engage the audience and shots of memories are highlighted. A long tracking shot of multiple characters is provided as an example to follow.
Film Opening Analysis-Anchor Man
The opening scene of Anchor Man immediately establishes that the film is set in the 1970s news world. It introduces the legendary anchorman Ron Burgundy, showing how respected he is in his job through his expensive clothes and helicopter entrance. However, it also shows he is quite immature, throwing tantrums on air and being generally obnoxious. This establishes the film as a satire of the birth of televised news and women's developing roles in the industry at the time. Elements like the costumes, props, and music used in the opening aim to immerse the viewer in the period setting through a comedic lens.
Postmodern media breaks the rules of representation
Postmodern media often breaks conventions of representation to create simulated realities that distort or subvert expectations. This is seen in films like Drive and Inglorious Basterds, which manipulate genres and use techniques like self-reflexivity to present disjunctive worlds. Television shows also break rules, like Family Guy's Star Wars parody that acknowledges itself as constructed fiction. Lady Gaga similarly constructs a simulated persona through allusions and genre-crossing. Overall, postmodern media challenges realistic representation to develop new meanings, though these can only be understood by media-literate audiences.
Presentation1
Martin Scorsese was born in 1942 in New York City and was raised in Little Italy, which inspired some of his films. He earned degrees in film from New York University. Scorsese is considered an "auteur" director with a distinctive style who frequently collaborates with actor Robert De Niro. The document discusses Scorsese's films Taxi Driver (1976), Goodfellas (1990), and Raging Bull (1980), noting they are set in New York, feature Italian American characters and culture, and open with intimate shots of the main characters that set the films' tones.
Lh close analysis
The document provides discussion questions about the French film "La Haine" which explores urban poverty and conflict in the suburbs of Paris. It asks the reader to analyze and interpret various scenes from the film focusing on themes like:
1) The representation of the police and the backgrounds of the three main characters Vinz, Hubert, and Sayid.
2) Symbolic elements like the music playing during the opening credits and what locations and characters reveal about their circumstances.
3) Tensions between the characters addressed in scenes like their argument in the bathroom over perceived slights and aspirations.
4) The broader social commentary on issues like lack of opportunity for the characters and disenfranchisement.
Prophecy
The document discusses director Gus Van Sant's 2005 film "Last Days" which depicts the last days of a musician named Blake who commits suicide. [1] The film is widely seen as being based on the real life and death of Kurt Cobain. [2] Van Sant skillfully weaves together reality and fiction through his portrayal of the "fabula" (actual events) and "sujet" (underlying meaning or theme) of the film. [3] This allows "Last Days" to shine as both a creative depiction of Cobain's last days and a masterfully crafted artistic work that engages viewers through subtle clues about its real-life inspiration.
Mise en scene plan
The document discusses costume, location, lighting, and prop choices for a short film opening sequence. The antagonist will wear dark, concealing clothing with a hood and gloves. The victims will wear regular teenage clothing to appear vulnerable. The protagonist's older brother costume will seem more approachable. The preferred location is an abandoned cattle market to seem industrial and lonely. The backup plan is a more public industrial area. The lighting will be overcast dusk for an eerie thriller feel. Props like everyday objects will be used as weapons to show the antagonist's instability and lack of planning.
Outlaw Poster
This poster is promoting a new crime thriller film from the director of two well-known UK crime films. The poster depicts three characters, with two having shadows over half their faces to represent their darker sides. It also shows the London skyline in gritty colors, meant to look undesirable. An AK-47 rifle sits alone, signaling the violence in the film. The gritty colors and blending of the characters continue the theme that the film will be dirty and gritty. The poster follows conventions of the genre with its layout and inclusion of a weapon to indicate the film's subject matter.
1. codes & conventions
The document discusses continuity of time setting through props and costumes in film opening sequences, such as using sepia tones for Gladiator to indicate a historical setting. It also analyzes the author's own opening sequence for a film called "Repressed Memories," noting the use of techniques like jump cuts, cross dissolves, and old English font to establish the 16th century time period, while acknowledging some elements may not show full continuity. Examples from other films like Gladiator and Troy are provided.
Micro analysis of La Haine - Opening
The document summarizes and asks questions about several opening scenes in the film "La Haine". The scenes introduce the three main characters: Said, Vinz, and Hubert. Said is first seen being chased by police, establishing his distrustful relationship with authority. Vinz's room shows American pop culture influences, revealing aspects of his background. Hubert lives in run-down housing projects and struggles to help his sister with schoolwork, illustrating the challenges of his environment. Overall, the opening scenes set up the characters and social tensions experienced by youth in the French banlieues.
Qualitative Research
The document discusses the evolution of different styles and genres in horror films over time, from their origins in German Expressionism to modern slasher films. It traces how techniques like expressionist lighting and set design influenced later styles like film noir and gothic horror. Additionally, it notes how modern horror films have become more gory and controversial by explicitly showing violence, in contrast to earlier eras where more was left to the viewer's imagination.
Photo analysis
- The first photo shows a group of young boys in uniforms on bicycles, appearing to be part of the Hitler Youth. The setting seems rural and in black and white, showing it was taken long ago in perhaps Berlin.
- The second photo depicts a group of tan, shirtless men huddling together who appear to be in the army at an airplane base, suggesting it was taken during the Vietnam War in the 1950s summer.
- The third photo clearly has to do with alcohol prohibition, as the identically dressed men on freshly bricked sidewalks were likely protesting prohibition, as their fashion style dates it to the 1920s or 1930s.
Clothing for music video scenes
The document discusses clothing options for two actors, Morty and Will, across six different filming locations - a road, pathway, car park, skate park, garage, and prison. For the outdoor road scene, Morty will wear a sweatshirt and dark jeans, while Will wears a coat and blue jeans. Their clothing remains the same in the continuance of the narrative across multiple locations. At the skate park, car park, and pathway, Will wears a hoodie and Morty a bomber jacket. In the indoor garage, plain t-shirts are suggested. For the prison scene, plain clothing will be used but modified to look like prison attire, such as adding a number without using the color orange.
Evaluation: Q2
The document discusses how the thriller film portrays gender, age, and class in a negative way through three key elements:
1) Gender is portrayed through an alpha male lead and a chase scene with no female characters, showing a stereotypical view of such scenes belonging to men.
2) Age is shown through youthful actors, run-down setting, fast editing and music, contributing to the portrayal of teenagers as dangerous to older audiences.
3) Class is depicted through a lower-class setting, actors dressed in tracksuits and baggy jeans, and a rap/grime soundtrack, indicating the film focuses on the lower classes.
Q2
The document discusses how a 2-minute film opening represents various social groups. It primarily features a young, independent white male protagonist. Scenes aim to be relatable to male audiences by showing the character alone in isolated or desperate situations, similar to films like Watchmen and I Am Legend. Costumes feature typical modern male attire like plain white tops and black pants. Both main characters represent confident or desperate males, which could also be relatable to female audiences. The target audience is young males aged 18+ due to mature themes and violence.
Postmodern media manipulates time and space
The document discusses how postmodern media manipulates time and space through three examples:
1) The TV show "Family Guy" uses non-linear narratives and self-reflexive humor to manipulate time and space. An episode parodies "Star Wars" by interrupting the storyline.
2) The film "Drive" uses contrasting mise-en-scene of cars and costumes to confuse the audience's sense of time period.
3) The film "Scott Pilgrim vs. The World" applies video game rules like battling evil exes, defying the laws of physics and reality. Both films create ambiguous or hyperreal worlds through manipulating time and space.
Analysis of Opening Sequence
The opening sequence of "The Big Combo" effectively sets the film noir tone and introduces key elements:
1) An aerial establishing shot presents the city as a dark labyrinth engulfing the characters in mystery. Panning shots reveal a nighttime city illuminated by sparse lighting, connoting potential criminality.
2) A woman runs frantically through dark alleys, chased by two men, establishing her as the "femme fatale" and creating suspense about her pursuers' motives.
3) The complex city streets function as a maze, trapping the characters, consistent with the film noir theme. The woman ultimately asserts control by demanding her pursuers stop for food
Q2
The document discusses how a 2-minute film opening represents various social groups. It primarily features a young, independent white male protagonist. Scenes aim to be relatable to male audiences by showing the character alone in isolated or desperate situations, similar to films like Watchmen and I Am Legend. Costumes feature typical modern male attire like plain white tops and black pants. Both main characters represent confident or desperate males, which could also be relatable to female audiences. The target audience is identified as males aged 18+ due to mature themes and violence.
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Postmodern media breaks the rules of representation
Postmodern media breaks the rules of representation
Similar to Evaluation 1
Evaluation 1
The film features a nonlinear narrative with flashbacks and time skips. The genre is ambiguous, containing elements of horror, drama, thriller, and sci-fi due to themes of clones and a post-apocalyptic setting. While the cinematography is not groundbreaking, some shots effectively convey tension. There are some continuity issues with clothing and car placements that could be explained by clones appearing different. The sound design, particularly the unsettling music choices, enhances the film's tone. Clothing and locations were deliberately chosen to fit the dirty, post-apocalyptic aesthetic.
Evaluation 2
The document summarizes the representation of social groups, particularly males and females, in the first three minutes of a film. For males, the characters are portrayed in stereotypical ways for the genre, with one male shown as dim-witted but also as capable leaders. Males are depicted as both violent when arguing but also able to remain calm. For females, one character follows the males' leads initially but also acts as a voice of reason. Both characters are treated similarly to males in filming without objectification. Other social groups like parents are not represented within the short timeframe but could be portrayed similarly to other works in later portions of the film.
Eval question 1 powerpoint
This document compares the filmmaker's thriller "Beaten" to other media works that use zombie conventions such as 28 Days Later, The Descent, Michael Jackson's "Thriller" music video, and the video game Left 4 Dead. It analyzes similarities and differences between the works in terms of plotlines, characters, editing techniques, camerawork, titles, and action sequences. Overall, the document shows how "Beaten" both develops typical zombie genres conventions while also challenging some conventions through its unique story elements and filmmaking choices.
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The document discusses several hidden details and plot points in John Wick 4 that viewers may have missed. It notes that John Wick 4 has the largest time jump in the franchise of 7-8 months. Details are provided on the identities and cultures retained by the soldiers who attack the Osaka Continental. Actors like Scott Adkins and Rina Sawa Yama are discussed. Important paintings seen in the film that symbolize themes of freedom and the tragic nature of the underground world are analyzed.
4047 dominic griffiths evaluation
1) Short films are typically under 40 minutes and focus on a simple idea or message in a concise way. They allow ideas to be expressed quickly.
2) The documentary "Lost" follows a man struggling with dementia as he believes his wife is missing, but the audience learns it is his memories that are lost.
3) The film uses poetic transitions between scenes and manipulated storytelling to reflect the experience of dementia and create confusion similar to the protagonist.
Film pitch
The document outlines a pitch for a post-apocalyptic action film set in the UK. The film would take place after some global catastrophic event and draw inspiration from movies like I Am Legend and video games like Fallout. It would follow one average person's struggle for survival in a dark, desolate world as they search for resources and encounter other survivors. Potential filming locations that could provide suitable post-apocalyptic settings are identified, like abandoned gravel pits and airfields in Weybridge and Wisley. The film aims to be less conventional than most apocalyptic stories by excluding zombies and focusing on the relatable challenges of one ordinary person.
Bulletboy
The document analyzes the opening two minutes of the British realism film "Bullet Boy" to understand its key features. It notes that the film was financed by the UK Film Council and dialogue does not begin until 1:06. The main character, a young male prisoner, is shown in a bright white cell in contrast to the previous dark scene, connoting innocence. A long shot depicts the separation between the prisoner and police through a desk. His strong London accent is a convention of British social realism films. Cross-cutting is used between the prisoner and a male in a car to connect them and build tension.
‘Down by Law’ (1).pdf
The 1986 Jim Jarmusch film "Down by Law" follows three men - Zack, Jack and Roberto - who are imprisoned together and eventually escape. The documentary discusses the film's minimalist cinematography by Robby Muller, which relies on long takes with no close-ups to immerse the audience and create a sense of confinement. It also examines the mise-en-scene in each section of the film - from the prison walls that the characters draw on, to the Louisiana swamps they find themselves in after escaping. The editing, led by frequent Jarmusch collaborator Melody London, uses minimal cuts to further emphasize the visuals and tension in shared scenes between the characters.
Shots of social realim
This document provides descriptions and analyses of shots from several films that deal with themes of social realism and poverty. It notes that some shots are meant to depict the environments and circumstances of characters to show their feelings of emptiness or hope for better opportunities. Tracking shots and point of view shots are used to follow main characters and give the audience a sense of being present. Straight cuts and montage shots can portray chaotic lives or different areas within a city. Crane shots in particular films establish settings and ideas of hope to potentially escape difficult surroundings.
Shots of social realim
This document provides descriptions and analyses of shots from several films that deal with themes of social realism and poverty. It notes that many of the shots are meant to depict the environments and circumstances of characters living in poverty or depict a sense of hope for escaping difficult situations. Specific shots mentioned include tracking shots that follow main characters, point of view shots that put the audience in the character's perspective, mid shots that show empty surroundings to convey how a character feels, and crane and montage shots used to portray different locations around cities. The document compares shots and themes across multiple films to provide examples for a social realism-focused film being developed.
From Hell - Opening Sequence Analysis
The opening sequence of the film From Hell establishes the time period and setting of late 19th century London during the industrial revolution. Dark cinematography, costumes, and a ominous musical score set a dark and foreboding tone for a film about the Jack the Ripper murders. The sequence introduces the main character smoking alone on a street corner, hinting he may be the murderer, and also shows prostitutes by a run down pub on the outskirts of the city, establishing the social circumstances of the time.
Storyboards – Imperium
The document provides a storyboard and analysis for a short film called "Imperium". The storyboard outlines the key events in the opening scene: a mob boss named Wilson interrogates and kills a racist detective in an abandoned barn. Feedback was given to experiment with different shots to add variety and avoid boring the audience. The final draft analysis describes each shot choice, explaining how it introduces characters, sets the scene, conveys information through narration and a newspaper clipping, and leaves the audience with intrigue by ending on a gunshot that cuts to the title screen.
Sherai eldaa victoria trailer research
The document discusses elements that make effective movie trailer teasers, analyzing trailers for several films. It finds that establishing sympathy for the main character through their vulnerability is important. The trailers analyzed show heroes seeking revenge after tragedy or betrayal. Fast pacing and exciting visuals keep audiences engaged, as do intriguing storylines that leave questions unanswered. Editing techniques like cuts, wipes and dissolves are used to convey narrative and build suspense or action. Overall the document examines how trailers introduce characters and plot elements to attract audiences.
AARONHello All,After watching all the films in Week Two’s.docx
AARON:
Hello All,
After watching all the films in Week Two’s content (with the exception of The Birth of a Nation) discuss at least 5 storytelling/narrative/plot) devices or editing choices that you have seen in recent films or TV shows. How did these devices or choices help drive the story? Then link those narrative techniques to the films you watched.
A: The five editing choices that I am stoked to talk about this week includes: close ups on actors, cross cutting, continuity editing, contiguity editing, and shot reverse shot.
· Close ups. He has the golden idol, his whip as well, but he did not know that a boulder was about to squash him like a bug. Who can forget the zoom in and close up of Harrison Ford in Indiana Jones Raiders of the Lost Ark? It makes sense that the average person would crap themselves upon realizing a few ton boulder is about to bid them a crushing defeat, but not for Indiana Jones. The audience shares in the pending disaster through the editing technique of a close up. As the camera pans in, we are able to see that the hero is just as worried about himself as the audience is. It is that conveyed emotion that draws us back to classics like the Indiana Jones series time and time again!
· Inception is an action movie that used cross cutting quite well. Cross cutting (Moura, 2014) is the technique of alternating between two or more scenes that are happening simultaneously but in different locations. It is down pouring in an American city while two gunmen on a motorcycle attempt to hijack a fifteen passenger bus. At the same time one of the stars of the movie is engaged in a battle of fisticuffs with a man in a hotel hallway. It turns out that the fight in the hallway is not happening in the real world, rather while the passengers in the van are in some sort of dream like state. As the van rolls off the road and flips side over side, the viewer notices that gravity is affected in the dream reality based on the orientation of the rolling van. The viewer is only aware of this phenomenon because of the use of cross cutting in nothing less than a superior manner.
· Continuity editing is the art of hiding the editing process from the viewer because the dialogue and actual scene convey enough information for the audience to understand what is happening. (Cameroon, 2012). The body is what is left after the dead guy mouthed off to the wrong good fella. As the body is being dragged out of the establishment where the murder took place, one of the men dragging the body tells the good fella who killed that man that they will take the body to his mother’s house. The scene transitions from the body being dragged through a building to a car pulling into a driveway. The audience is able to draw the conclusion that the body has been loaded into the car, and that the car has arrived to the house of the good fella’s mother without having to see those actual scenes unfold. The movie is of course the instant classic G.
Critical Response Brief 2 : Superhero Movies
The document discusses the evolution of superhero movies from 1966 to 2013. It analyzes and compares the trailers for the 1966 Batman movie starring Adam West and the 2008 Dark Knight movie starring Christian Bale. While the 1966 Batman trailer has a campy, comic book style aimed at children, the Dark Knight trailer has a darker, realistic tone inspired by changes in comics from the 1970s onward. The document examines how the trailers use different conventions, themes, and styles to appeal to different audiences based on the era. It also discusses how the Dark Knight trailer set a new standard that influenced many later superhero films to adopt a similar realistic, character-driven approach.
Bullet Boy
The document analyzes the opening two minutes of the British film "Bullet Boy" to identify key features that could be applied to the assistant's own productions. These opening titles show the film's producers and financiers, including support from BBC Films and the UK Film Council. The introduction of dialogue at 1:06 minutes establishes the main character, a boy in a bare prison cell under bright, realistic lighting. Long shots depict the tension between the boy and prison guards and imply a difference in social class through their interaction and the boy's strong London accent, characteristics that identify the film as an example of British social realism.
Bullet boy
The document analyzes the opening two minutes of the British film "Bullet Boy" to identify key features that could be applied to the assistant's own productions. These opening titles show that the film was produced by BBC Films and financed by the UK Film Council. At 1:06 minutes, dialogue is introduced along with the main character wearing a gray tracksuit in a bare white prison cell with bright, realistic lighting. This establishes tension between the character and prison guards through a long shot, showing differences in class as the guards look down on the released prisoner. The pace then quickens through cross-cutting between shots of the character above and in the boot of a car.
Aab dan movie task with notes
This document provides an analysis of the genres and conventions used in the Terminator and Die Hard films. It discusses how Terminator blends elements of sci-fi and action by featuring time-traveling cyborgs. Key conventions like advanced weaponry, fights, and car chases establish it as an action film. However, its focus on future technology and time travel also place it in the sci-fi genre. Character costumes, lighting, and other mise-en-scene elements are discussed in relation to how they further genre conventions in both films.
Unit 10
This document provides an analysis of the science fiction and action genres as exemplified in the films Terminator 2 and Die Hard. It discusses various genre conventions used in the films such as their settings, characters, themes of good vs evil, use of weapons, and editing techniques. Propp's character archetypes and Todorov's theory of narrative equilibrium are also applied to analyze the plot structures and how they create narrative tension. Overall, the document analyzes how these two films effectively combine elements of science fiction and action to tell compelling stories that conform to their genres.
UDUD
This document provides an analysis of the science fiction film Terminator 2 in terms of its genre conventions. It discusses elements such as the film's use of time travel and cyborgs, how it combines elements of action and science fiction genres, and how it establishes the Terminator as both a villain and hero. Characteristics like lighting, music, and the portrayal of the Terminator as an "invincible" force are examined. Comparisons are drawn to other films involving time travel like Back to the Future. Overall, the document analyzes how Terminator 2 incorporates conventions of multiple genres to tell its story.
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Evaluation 1
- 1. Our film VS Real Films
- 2. Narrative Our film features a none linear narrative in many different ways, for example, this can be seen in the news report which is a flashback of a memory Nicola had. It is also open to interpretation which order the first 2 minutes are in, as the film is all about clones infiltrating society. This is why when characters are wearing different clothes after the news broadcast flash back, it is open to weather or not they are the same characters, or simply just clones of those characters. In truth however, this was actually just a continuity mistake, yet it still works with our plot. This is also the same for the could be clone of Boris who dies at the end, is it the same Boris or is it a clone? Time skips are also used in our film, skipping a week from the first shots of the characters entering the underground parking garage. This was use3d to cut out unnecessary time.