Frankenstein – a modern myth
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This documentary examines the story of Frankenstein, its history, and modern adaptations. It uses a variety of techniques like interviews, narration, and archival footage to tell a nonlinear narrative. The camera work focuses on medium close-ups of subjects. Interviews are typically framed conventionally, though some include two people. Sound effects and music are added to enhance scenes. Fast editing and montages are used to keep the audience engaged. The title sequence has a gothic style to reference the novel's themes of electricity and creation.
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Frankenstein
The documentary uses a mix of archive footage, interviews, and narration to explore the themes of horror, the creation of Frankenstein, and the life of Mary Shelley. It has a non-linear structure and focuses primarily on one theme. Various camera shots like tracking shots and medium close-ups are used to illustrate the narration and in interviews. The narration is provided by a male voice-of-god narrator and includes non-diegetic sounds that relate to the theme of horror. Black and white imagery and titles are incorporated relating to the documentary's examination of Frankenstein.
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The documentary Frankenstein: A Modern Myth uses a mixed documentary style with interviews, observations, archive footage, and narration. It has a non-linear narrative structure. The documentary covers many themes related to Frankenstein like Gothic, music, myth, theatre, drama, film, religion, period, and fantasy. It uses various camera angles and shots like rule of thirds in interviews to focus on expressions to convey emotion. The mise-en-scene of settings, costumes, lighting, actors, makeup, and props portray different scenes and themes throughout the documentary. Sound effects and different narration styles are used to convey mood and atmosphere. Editing techniques like cutting clips and using sound effects help keep the audience engaged. The
Frankenstein a modern myth
This documentary examines the themes of literature, film, and myth in Mary Shelley's Frankenstein through a nonlinear narrative structure. It utilizes interviews, voiceovers, and archive footage. Shots include medium close-ups, cutaways during interviews to illustrate points, and establishing shots of locations mentioned. The interviews are filmed using conventional techniques like the rule of thirds. Mise-en-scene reflects the topics discussed. Non-diegetic sound like music and narration are used. Editing employs slow pacing, montages, and cutaways. Archive footage and graphics provide historical context and identify people and works discussed.
Frankenstein: The Modern Myth
This documentary analyzes Mary Shelley's novel Frankenstein and its enduring influence as a modern myth. It uses a variety of documentary techniques, including archived footage from film and stage adaptations of Frankenstein, interviews with experts, and a "voice of God" narration. The nonlinear documentary explores themes of horror, creation, and Mary Shelley's life and work through graphics, editing techniques like cutaways, and diegetic sounds like heartbeats that reference the novel.
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Frankenstein
The documentary uses a mix of archive footage, interviews, and narration to explore the themes of horror, the creation of Frankenstein, and the life of Mary Shelley. It has a non-linear structure and focuses primarily on one theme. Various camera shots like tracking shots and medium close-ups are used to illustrate the narration and in interviews. The narration is provided by a male voice-of-god narrator and includes non-diegetic sounds that relate to the theme of horror. Black and white imagery and titles are incorporated relating to the documentary's examination of Frankenstein.
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Storm thorgerson
This photograph was used for the Pink Floyd album cover and was taken using film, limiting the number of photos that could be taken. The beds seen in the photo were carefully placed up the beach, a process that would not have been needed if shot digitally as effects could be added in Photoshop to achieve a similar look with fewer beds.
Sound research
The document discusses horror film soundtracks, noting they are often darkly romantic but influenced by impressionism, atonality, and surrealism. It lists popular horror soundtracks such as Halloween, The Exorcist, Psycho, Jaws, Saw, and The Wicker Man. The purpose of horror soundtracks is to represent the film's tone and genre through music since non-diegetic sound is crucial in horror films with little dialogue to make the film recognizable, as aimed for in the author's short film which relies on music over dialogue or diegetic sound.
Storm thorgerson
Storm Thorgerson is a creative photographer known for his work with Pink Floyd. He takes unusual approaches that are distinct from ordinary photography. One photo for a Pink Floyd album cover uses depth of field so band members further away are less defined. It also features a photo within the photo, showing Thorgerson's signature style. Another photo lays out the band's instruments and equipment in an interesting composition, with details like "Pink Floyd" written on the bass to add interest without making the band the main focus. Thorgerson's experimental styles produce unique, visually engaging photos.
Frankenstein a modern myth
This documentary analyzes Frankenstein as a modern myth through archived footage, interviews, and narration. It explores the themes of horror and the life of Mary Shelley. The documentary uses various camera shots like medium close-ups and cutaways during interviews. It also features interviews set in relevant locations like a science museum or theater. Archived material from films and images help illustrate points. Non-diegetic sound and editing techniques like montage and cutaways aid the storytelling. Graphic elements include the gothic title design and information about adaptations of the Frankenstein story.
Genre presentation
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Natural lighting is highlighted in several photos. In one photo, light reflects off a white guitar, making it glow. Another photo shows light reflecting off a Marshall amplifier's silver knobs. Composition is also important, with two photos filling the frame with amplifiers to make them seem larger, and another connecting a guitar to a Jimi Hendrix poster in the background. Depth of field adds interest, with one photo having a shed in the background and another having posters hidden in the clutter behind the foreground subject.
Dracula opening film analysis - hibba
Dracula is a 1992 film adaptation of Bram Stoker's novel, directed by Francis Ford Coppola. The opening uses various cinematography techniques like close-ups and long shots. Mise-en-scène features dark red lighting, medieval costumes, and props like bows creating a gothic and dangerous tone. The slow pacing and fades between scenes build suspense. Mysterious and tense non-diegetic music further conveys a sense of impending danger.
Film referencing shahrain shah
The document discusses referencing the film "Taken" for a final film project about crime, thriller, and suspense. Specifically:
- The student has chosen to reference the 2008 film "Taken", directed by Pierre Morel, about a retired CIA agent who travels across Europe to save his kidnapped daughter.
- Key elements that will be referenced include the story of a girl being kidnapped, intense camera shots, and the background music that builds suspense.
- Referencing this acclaimed and award-winning film is intended to help the student's own film achieve a similar level of suspense and success.
ana 2
The opening sequence of "Men In Black" establishes a mysterious tone through its use of cinematography, editing, and sound. A close-up shot of a fly flying toward stars is intended to raise questions in the audience's mind. The shots change very quickly in a disorienting way. There is no non-diegetic sound except for fast-paced opening music accompanying the fly's flight, furthering the sequence's air of mystery and intrigue and hooking the audience to continue watching.
Question 1 AS media evealuation
The media product uses conventions from thriller films such as dark rooms, low lighting, and eerie music, but also challenges conventions by including some scenes with more lighting and light music. It develops camera angles to create suspense as seen in the movie Lost Boys, using tracking cameras and filming from behind characters to build tension, which was replicated in the opening scene of following a man into a warehouse.
Research for short films
1) Cigarettes and Coffee tells three intersecting stories in a diner near Las Vegas over 23 minutes, slowly revealing details and never revealing too much too quickly to build suspense. This extension of plot and surprise twists make short films more interesting.
2) Alive in Joburg presents itself as a documentary about alien oppression in Johannesburg slums in the 1990s to communicate the theme of segregation, similar to a news report with interviews. It shows aliens living in poverty rather than with advanced technology.
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The document provides an analysis of narratives in music videos. It examines Propp's and Todorov's theories of narrative structure and how they apply to music videos. Two music videos are compared: Florence & the Machine's "Rabbit Heart" and Jessie J's "Nobody's Perfect". Both videos feature the artist as protagonist isolated amongst party guests and communicating directly to the camera. However, they differ in terms of setting, tone, costume, and genre of the accompanying music.
Different types of documentaries
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Flightplan
Kyle Pratt, an aviation engineer, is flying back to New York from Berlin with her deceased husband's coffin and their six-year-old daughter Julia. Three hours into the flight, Kyle awakens to find that Julia has gone missing from the large double-decker plane. As a very concerned mother, Kyle has a lot of ground to cover to try and find her daughter. However, as Kyle fights to discern the truth about what happened to Julia, she takes matters into her own hands.
Features of documentaries
According to John Carter of the University of Liverpool, there are 5 main elements of a documentary: 1) Observation, which puts the audience in the role of eyewitness. 2) Interview, which contrasts observation sequences and is structured through intercutting or uninterrupted sequences. 3) Dramatization, which conveys people and events the creator cannot access, based on fact. 4) Mise-en-scene, what directors put in the frame like lighting and props. 5) Exposition, the line of argument or thesis the documentary puts forth for audiences to draw their own conclusions.
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This document defines documentaries and outlines their key purposes and features. It discusses how documentaries aim to inform audiences about a topic using real footage or reconstructions. John Corner's theory that documentaries use recorded sound and images of actuality is also mentioned. The document then provides a brief history of documentaries, from the first being made in 1926 to their rise in popularity on television in the 1950s. Finally, it identifies different documentary types such as mixed, fully narrated, fly on the wall, and docudrama, and highlights examples of each.
Deconstruction of film openings
The document provides a summary of the openings of three films: The Silence of the Lambs, License to Kill, and Lord of War. It analyzes elements such as camera shots, title placement, music, and their effects on positioning the audience. For The Silence of the Lambs, it notes the establishing shot, central title placement, character focus through midshots and movement, and suspenseful music. For License to Kill, it discusses the graphical and film scenes, varied title placement, minimal character shots, and repetitive slow music. For Lord of War, it highlights the complex shots from a bullet's perspective, corner title placement allowing action, and upbeat repetitive sound positioning the audience as laidback.
Proposal
The document proposes an opening scene for a thriller film. It discusses being inspired by the narrative voiceover in Top Boy and the mental health aspect of Halloween. The proposed opening involves someone escaping from a mental institution to get revenge, though the reason is initially unknown. Multiple locations are considered for filming the opening montage, including parks, forests, and hospitals. Slow, building orchestral music and diegetic sounds are discussed to create tension. A range of camera angles, such as close-ups, establishing shots, and following shots, will be used to set the scene and show emotion and isolation of characters.
Conclusion
The document analyzes four action films from different decades and identifies common elements that define the genre. All four films establish the main characters, time, and location immediately. They also introduce music early on to set the mood and provide cues about characters and events. By clearly establishing these foundational elements up front through techniques like foreshadowing and narration, the films are able to launch into their fast-paced plots centered around physical action.
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Plots and stock situations
1. The document provides examples of shots and techniques from existing horror films that could be used in the film being discussed, such as long shots, low angles, close ups, and two shots.
2. Specific examples are given for how these shots could be used, such as a long shot showing a character's isolation or a low angle making a character seem powerful and threatening.
3. Black screens between shots are suggested to create mystery and tension for the audience. Different color treatments and typography for logos or text are also proposed to catch the viewer's attention.
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The documentary analyzes the themes and narrative structure of Mary Shelley's Frankenstein. It explores how the novel challenged the idea of man creating life and commented on modern issues like electricity. Through interviews, archival footage, and narration, the documentary examines Frankenstein's enduring influence and how it remains relevant as a modern myth.
Frankenstein Analysis
The documentary analyzes Frankenstein from multiple perspectives including themes of interpretation over different eras, feminism, and mythology. It uses a variety of content like interviews, archive footage, and actuality footage. The narrative structure is non-linear, moving between themes rather than chronologically, and provides a closed and single-threaded story. Camerawork includes widescreen interviews framed off-center following rules of thirds, with close-ups and mid shots of interviewees and blurred backgrounds. Lighting aims for ambient natural light with darker backgrounds focusing attention. Relevant historical locations and materials are featured alongside music and graphics with subtitles.
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This document discusses various techniques used in documentaries, including types of documentary structures, camera work, interviews, mise-en-scene, sound, and archive materials. It provides examples of shots that utilize different documentary conventions like voiceovers, cutaways during interviews, following classical composition rules, and using relevant backgrounds and locations. Non-diegetic sounds are also discussed as a way to provide contextual information to viewers. Archive footage is highlighted as a technique to present information and demonstrate how topics have been depicted over time.
Frankenstein documentary analysis
This documentary analyzes the story of Frankenstein through interviews, observations, and narration. It explores themes like the horror genre's growing audience and how the original story has been adapted over time. A variety of camera shots are used to film interviews and establish landscapes. Archive footage from different eras shows how the story has influenced people and past adaptations. The narrative focuses on Frankenstein and related subgenres in a linear structure moving between present and past. Editing employs montages of archive clips and cuts between interviews and related footage. Graphics display credentials for interviewees. Both diegetic and non-diegetic sounds are used to direct pace and heighten intensity.
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The Frankenstein documentary uses a mixed documentary style with interviews, narration, and observations. It has a closed, non-linear narrative structure that jumps between different time periods in the interviews. The documentary explores themes of interpreting Frankenstein over different eras and religion, with some discussion of feminism. Camerawork in interviews uses conventional close-ups and medium shots with subjects slightly off-center. Mise-en-scene features artificial lighting, locations related to themes like a church and library, and interviews with a theater director backstage. Editing omits questions in interviews and uses cutaway shots to avoid jumps; effects are kept simple. A male voiceover in standard English is accompanied by background music to maintain audience interest.
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Our opening sequence challenges and develops conventions of psychological horror films in several ways. It relies on revealing the unstable and meticulous nature of the antagonist through his actions like cutting himself and dissecting a fly. Sound design and a building musical score are used to create tension. Camera work with close-ups shows the antagonist's precision and instability. While drawing from conventions like building tension throughout, it challenges conventions by filming in a greenhouse instead of a typical location and using atypical lighting. The sequence aims to develop conventions by focusing on revealing the antagonist's character through his behaviors and the unease created through its applicability to everyday settings.
Frankenstein: A Modern Myth Analysis
This documentary analyzes Mary Shelley's Frankenstein from multiple perspectives. It uses a non-linear narrative structure and interviews various experts on the novel and its adaptations. The documentary examines how Frankenstein has been portrayed over time, the controversy around certain adaptations, and the rise of the horror genre. It effectively employs a mix of interviews, archival footage, and narration to explore the themes and legacy of Frankenstein.
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The document provides an analysis of the short film "Frankie" focusing on its mise-en-scene, sound, camerawork, and editing techniques. The setting is a suburban area as shown in background images. Diegetic sounds like the main character's Irish accent are prominent, along with a calm soundtrack abruptly interrupted by a train horn to shift the mood. The first shot establishes the cluttered bedroom from a bird's eye view. Frequent jump cuts are used to quickly show aspects of the main character's lifestyle within the short film's limited time.
Textual analysis of ‘frankie’
The document analyzes various technical elements of the short film "Frankie". It summarizes that the film is set in a suburban area, as shown in the background images. Diegetic sounds are prominent, particularly the main character's Irish accent. Non-diegetic sounds like a train horn are used abruptly to shift moods. The first shot establishes the cluttered setting of the main character's bedroom through a bird's eye view. Jump cuts are used to quickly show aspects of the character's lifestyle within the short runtime of the film.
Textual analysis of ‘frankie’
The document analyzes the mise-en-scene, sound, camerawork, and editing techniques used in the short film "Frankie". It notes that the film is set in a suburban area, features the main character's strong Irish accent, uses an establishing shot of the character in an untidy bedroom, and employs frequent jump cuts to quickly show aspects of the character's lifestyle within the short runtime.
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- 2. The documentary is about the story of Frankenstein and its history, its also about the modern twists people have put on it. The type of documentary is mixed as it has a variety of content, interviews, narration and archive footage. It is also single stranded with a nonlinear narrative structure. The camera work in this documentary features mostly medium close ups. Though a pan is used to go up the human body diagram. An establishing shot is used on the villa too set the scene for that particular part of the interview, as famous events transpired there.
- 3. The interviews are mostly framed in the conventional way, though some of the interview feature two people. The mise en scene used is appropriate for the documentary. When interviewing the historian of science the background is a science museum, and when interviewing Benedict Cumberbatch, the background is the rehearsal space of the Frankenstein play he is in.
- 4. Non-diegetic sound within the documentary occurs when a voice over which is telling the preface of Frankenstein – giving an insight into it. During a part of the documentary featuring the rolling stones music by an actual artist is played, but it is mostly music with lyrics created for the documentary. Also sound effects are inserted to heighten some scenario e.g. a heartbeat sound effect was edited in during a particularly intense scene. The editing used within the documentary, is fast cuts mainly to keep the audience engaged. A montage is used prior to the title sequence to show a small amount of content before showing it fully.
- 5. The title screen of the documentary gives it a gothic effect, this is due to the background image being dark and with the use of the lightning – which has connotations of electricity which is used within the story of Frankenstein to bring the monster alive. The font for the title itself is distorted and looks like it is put together, just like Frankenstein’s monster. The subtext of the interviews/footage says who/what the relevance to the topic is.
- 6. The title screen of the documentary gives it a gothic effect, this is due to the background image being dark and with the use of the lightning – which has connotations of electricity which is used within the story of Frankenstein to bring the monster alive. The font for the title itself is distorted and looks like it is put together, just like Frankenstein’s monster. The subtext of the interviews/footage says who/what the relevance to the topic is.