Y2 FMP: Context and Theory

1. CONTEXTUAL
ANDTHEORY
Ewan Wild

2. CONTEXTUAL

3. Research intentions
My main area of research in the contextual section is directors.
Different directors have their own specific styles and that’s what I
want to talk about. As well as this, the little areas that make
specific films of theirs so good. I hope to take away these areas and
develop them into my own thing, eventually letting it all come
together to create my own style, inspired by them. I don’t have a
preference as to what areas I want to focus on, so it could be
something to do with the cinematography, or maybe something
done in post production. If I do find something, I will then be able
to experiment with it and try it out before I get to filming. I don’t
want to go into production having never tried the techniques I
want to use, so doing some experiments with them will be useful.

4. Guillermo delToro
DelToro’s use of symbolism in his films is something to be
inspired by. A lot of his films require thought as to what
something actually means, some may be more literal than
others, but it’s like everything means something. For example, In
‘The Devil’s Backbone’ (2001) we see Jaime, who was responsible
for killing a child years before, drowning in the same place he hid
the body.This is fairly obvious symbolism for drowning in guilt.
Later on in his career with ‘Pan’s Labyrinth’ (2006), the
symbolism becomes more difficult to work out. Everything can
be interpreted in different ways down to the colours they wear
and the trees. Although I wont be able to make a new tree for
symbolism in my work, I’ll still be able to through the use of
colour, as well as smaller objects. I can easily get my hands on
various items such as knives, black clothes, and anything else
that I need to create meaning not just through words and
actions, but also the items in the shot.

5. WesAnderson
Wes Anderson’s use of composition and mise en scene is
definitely an inspiration for my short film. His use of
perfect symmetry in film creates a dollhouse-like feeling,
creating a perfectly set up shot. As shown on these
screenshots from his various films, even the background
is symmetrical. He is also a fan of anachronism in his
films.This is where something in the shot belongs in a
different time period, such as having a modern watch in a
film based in the 60s. Object from the past are usually
used to show how a character is stuck in the past, and
make a movie seem like it’s in several different years at
once, making you feel as if it’s in it’s own universe. A good
example of how this is done is through theTV show
‘Gotham’ (2014).The phones andTVs they use don’t
match all the décor and backgrounds, making you wonder
what year it’s meant to be based in, which is information
that was never revealed.

6. The Lumière Brothers
The reason I add in these brothers is because of
how they made short films with a lot of realism.
Their short films, such as ‘L'Arroseur arrosé’ were
comedies but they were real life situations that
really could happen.They were simple and not
exaggerated at all like most other films around that
time. I want to convey a sense of realism like this,
except mine will be more of a dramatic comedy
instead of the usual comedies of this time.

7. Stanley Kubrick
My main reason for using Kubrick as an inspiration
is his work with black comedy.The main example
of this, ‘Dr. Strangelove’ (1964), is a perfect
example of how Kubrick can turn serious
situations into something comedic. In this case,
the Cuban missile crisis.Two years after this event
which terrified the population, Kubrick released
this, which in my opinion is a bold move. However
it was done so well, it made a horrific threat seem
funny, a skill which isn’t easy. As a director he’s
done many different genres, such as ‘A Clockwork
Orange’ (1971) and ‘2001: A Space Odyssey’ (1968)
which also makes him inspirational, as there’s
talent in being able to work with any genre.

8. More Detail InVideo Form
If the video doesn’t work, it can be found onYouTube here: https://youtu.be/F034NNKAgfw

9. THEORY

10. A Generalisation of Film
Theory
Film theory creates debates about anything to do with film,
drawing knowledge from the history of both film, and other areas.
For example, aesthetics in film may be drawn from different
locations in history, possibly creating a debate of both aesthetics in
film and in general. It questions everything in film using facts and
history, while still creating a difference in opinions, hence why
they’re seen as theory rather than absolutes. Film theory is almost
a prediction of films and verification of more hidden meanings,
maybe even obvious meanings.

11. Elements of FilmTheory
■ Mis-En-Scene
– The placement of the frame
– Constraints of the frame
– Territorial space
– The frame is important as it can tell you someone’s emotions. If the frame is
off centre it could be a sign a character is emotionally unstable
■ Sound
– Diegetic, which is sound made in the scene, such as the characters talking
– Non-diegetic, which is sound added later, such as sound effects or
commentary
– Most of my sound will be non-diegetic, hopefully pairing it with comedic
timing.
■ Shots
– Ranging from an extreme close up to an extreme wide shot
– POV shots
– Over the shoulder
– Different shots will be used for different reasons. A wide shot will establish the
location, and close ups will be used to show emotion

12. ■ Editing
– Continuity, thematic, dialectic, classical
– My editing will be simple but effective in conveying the mood that I want at a
particular time.
■ Angles
– Eye Level
– Using high and low angles to show positions of power
– Will be mostly eye level for mine, however I may use high or low angles for that
same reason
■ Colour
– Saturated shows happiness, fantasies and romance
– De-saturated shows the past, depression and struggle
– In more intense scenes for my short film, I will de-saturate the colour slightly
■ Lighting
– High and low key lighting
– Chiaroscuro Lighting (High contrast between a light/dark style)
– Silhouette/black lighting
– My lighting will be simple, I want it to look good and not be dark and grainy.
However, if I make it a bit dull, that can change the mood to how I want it.

13. Types of Film
■ Realism
– No special effects
– On location sets
– Basic editing
– Natural lighting
■ Classical
– Minimal/no special effects
– Lighting and sound creates moods
– Either on location or in a studio
■ Formalism
– Relies heavily on special effects
– Lighting and sound creates exaggerations
– Breaks the illusion of reality
– Editing used to speed up or slow down time
My film will be realist. I’m not planning on adding special effects and it will all be shot
on location. However I wouldn’t call my editing style basic, so it doesn’t completely
follow the realism trend.

14. Bibliography
■ Conger, C. (2018). Mise en Scene: What It Means and HowWes Anderson Uses
It. Available: https://www.studiobinder.com/blog/mise-en-scene/.
■ Hardcastle, A. (2005). Ghosts of the Past and Present: Hauntology and the Spanish
CivilWar in Guillermo delToro's "The Devil's Backbone". Journal of the Fantastic in
the Arts. 15 (2), p119-131.
■ Hellerman, J. (2019). Understanding FilmTheory: An Essential Guide. Available:
https://nofilmschool.com/Film-theory-basic-terms.
■ Leigh, D (2015). The Movie Book. London: DK. p176-179.
■ Phillips, G. (1971). KUBRICK. Film Comment. 7 (4), p30-35.
■ Stam, R (2000). FilmTheory: An Introduction. Oxford: Blackwell Publishing.
■ Unknown. (Unknown). Realism in film history. Available:
http://www.filmreference.com/encyclopedia/Independent-Film-Road-
Movies/Realism-REALISM-IN-FILM-HISTORY.html.