The firm – opening sequence analysis
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The opening sequence of the film establishes the 1980s setting through visual and auditory cues. Within the first 30 seconds, the production company logo is displayed along with neon lighting and the song "Tainted Love", signifying the 1980s era. The main character is shown from behind in a mirror, revealing his angry facial expression and common 1980s hairstyle. His outfit implies he is a football hooligan, fitting the film's title "The Firm" about a gang of football thugs. He is seen arranging a fight on the phone, displaying his violent and aggressive temperament around football passion.
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The document provides a summary of the opening scenes and title sequence of the film "Love Actually". It describes the production company logos that are shown at the beginning to establish expectations of quality. It then discusses a montage showing different people hugging and kissing at an airport, accompanied by slow music. A voiceover identifies the location as an airport arrival gate. Throughout the montage, different shots are used to show facial expressions. As the voiceover ends, the words "love actually is all around" appear on screen, revealing the title of the film. The music fades out as the title displays against a black background before fading into the next scene of an older male character in a recording studio.
Form research in Social Realism
The document discusses film opening sequences and title design. It provides background on Saul Bass, a pioneering American graphic designer and film title sequence designer. It notes that opening sequences set the tone for films and that mainstream sequences follow similar structures. It then examines the opening sequences of the films "KES" and "Psycho" to show how they conform to standard title designs and use techniques like lighting, camerawork and sound to immerse viewers. The document advocates studying title sequences to inform one's own filmmaking choices around areas like pacing, location shooting and conveying meaning.
Form research on what we need to include in our Social Realism production.
The document discusses film title sequences and their importance in setting the tone for a film. It provides examples of mainstream title sequences that follow similar structures and styles. Saul Bass is identified as one of the most famous film title designers, having created memorable title sequences for films like Psycho. The document also analyzes the opening titles and sequences of the films KES and Psycho in detail, noting how they effectively establish mood, characters and relate to conventions of their genres through techniques like lighting, camerawork and sound.
Analysing the opening of this is england
This film opening uses a series of quick cuts between scenes from 1980s England to establish the time period and culture without providing any narrative context. It shows skinheads, rock stars performing, housing projects, and riots to immerse viewers in the aesthetics of 1980s life in England. While it does not reveal the plot or main characters, the opening utilizes enigma codes like a talking puppet to engage audiences and make them want to understand the context of the scenes. The title sequence lasts around 5 seconds and fades in/out to resolve without explanation and leave viewers with questions about what the film will be about.
Form research for our social Realism Production :)
The document discusses film title sequences and their importance in setting the tone for a film. It provides details on graphic designer Saul Bass, noting he designed title sequences for many famous films, most notably Alfred Hitchcock's Psycho. The document then analyzes the opening title sequences of two films - KES and Psycho - examining how they establish characters, themes and adhere to conventions for mainstream title sequences. Research is also presented on techniques that could be used for a social realism film title sequence, such as location shots, close-ups and camera movement.
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Form research on what we need to include in our Social Realism production.
Form research on what we need to include in our Social Realism production.
Form research for our social Realism Production :)
Form research for our social Realism Production :)
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Sony vegas
This document describes the various sections and tools of a video editing interface, including a clips section to store filmed content, an editing area to view and adjust the piece, audio layers to mix soundtracks and dialogue, generated media layers for titles and effects, sound controls to adjust volume, and undo/redo buttons to reverse editing mistakes.
Question 5 media
The document discusses how a group addressed their target audience of 15-25 year olds who enjoy crime, sports and drama genres in their opening sequence for a film project about football hooliganism. Through research, the group determined football hooligan films would appeal to this audience. They created a questionnaire and conducted research on relevant films and music to authentically portray the genre. The group received feedback that their initial sequence lacked representations of hooligan clothing, behaviors and needed more characters. They revised the second half of the sequence in response to better attract their target audience.
Risk assessment
This document assesses risks and contingencies for filming scenes in various locations - a bedroom, stairs, street, bus, and pub. It identifies potential hazards such as falling on the stairs, getting hit by a car while crossing the street, getting trapped in the bus door, bumping into people exiting the bus, and a camera falling on someone's feet. For each hazard, it recommends preventative measures and ranks the risk as low or medium. Contingency plans are also provided, such as using an alternate actor, crossing the street safely, taking a taxi instead of the bus, or using a camera dolly.
Risk assessment
This document assesses risks and contingencies for filming scenes in various locations - a bedroom, stairs, street, bus, and pub. It identifies potential hazards such as falling on the stairs, getting hit by a car while crossing the street, getting trapped in the bus door, bumping into people exiting the bus, and a camera falling on someone's feet. For each hazard, it recommends preventative measures and ranks the risk as low, and provides contingency plans such as using a body double if the actor is injured or taking alternative routes/transport if the primary plan is too dangerous.
Media production companies
Film 4 focuses on low budget British films and would be a good fit for the filmmaker's low budget British hooligan film. Vertigo Films has experience producing a hooligan film and could assist with production, though larger companies like Metro Goldwyn Mayer, Paramount, and Universal would be too expensive and lack experience with the hooligan genre.
Clothing
The document discusses clothing styles typically worn by football hooligans. It notes that hooligans often wear thick coats to stay warm outdoors. Iconic shoes include Adidas Gazelle trainers, which became associated with hooliganism in the 1980s. Popular clothing brands mentioned are Stone Island, Aquascutum, Burberry, Lacoste, Fred Perry, and CP Company. Accessories like scarves and caps help identify hooligans and make them stand out in a crowd. The evaluation section recommends planning outfits for characters in an opening sequence to look realistic, as suits would provide the wrong impression.
Clothing
The document discusses clothing commonly worn by football hooligans. It notes that hooligans often wear thick coats to stay warm outdoors. Iconic shoes include Adidas Gazelle trainers, which became associated with hooliganism in the 1980s. Popular clothing brands mentioned are Stone Island, Aquascutum, Burberry, Lacoste, Fred Perry, and CP Company. Accessories like scarves and caps help identify hooligans and make them stand out in a crowd. The evaluation section recommends planning outfits for characters in an opening sequence to look realistic and properly characterize hooligan attire over suits.
Settings
The document outlines different settings for filming a movie about football hooligans. It describes Sam getting ready at home, then taking the bus to meet his friend at the bus stop. They become more aggressive and later get in a fight with opposing fans in an alleyway, a common place for illegal activity. After the fight, the hooligans walk from the alley to a pub, where the opening of the film ends as they walk through the door to meet their other friends.
Possible names
This document lists potential names for a project and the number of votes each received, with "When The Weekend Comes" receiving the most votes at 12 and "Fan" receiving the fewest with 1 vote.
The firm – opening sequence analysis
The opening sequence of the film establishes the 1980s setting through visual and auditory cues. Within the first 30 seconds, the production company logo is displayed along with neon lighting and the song "Tainted Love", signifying the 1980s era. The main character is shown from behind in a mirror, revealing his angry facial expression and common 1980s hairstyle. His outfit implies he is a football hooligan, fitting the film's title "The Firm" about a gang of football thugs. He is seen arranging a fight on the phone, displaying his violent and aggressive temperament around football passion.
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The firm – opening sequence analysis
- 1. The Firm – opening sequence analysis Sam Cooke
- 2. The production company; Vertigo films, is shown before the movie starts, the viewers automatically get an idea for the film from this, the signs lighting is bright and neon, this is a connotation to the 1980s, the backing music (tainted love by soft cell) is also a signifier to the 1980s as this song was a hit from this era. This is all in the opening 30 seconds. Everything done in the opening 30 seconds is to remind the viewers of the time period.
- 3. The opening shot shows the main character from an over the shoulder shot, the shot is facing a mirror which is useful as it shows the characters facial expressions, the character looks fierce, angry, his haircut is also a common haircut from the 80’s. the shot says ‘London the 80’s’ London was iconic for football violence in the 80’s with teams such as west ham, Millwall, Chelsea, all of these techniques from the film creators add connotations and set the scene for the movie immediately.
- 4. A few shots later a mid close up is shown of the same character a few shots before. The outfit the man is wearing gives impressions and has connotations he is a football hooligan, this would fit perfectly for the film as the name ‘the firm’ is relating to a gang of football thugs. During the phone call the main character arranges a fight, this shows the man is violent, aggressive, even temperamental as he wants to fight over football, it shows the man is passionate about the club he supports.