Fade to Black: AS Film - more examples of editing

Fade to Black: AS Film - more examples of editing: Here you will find some more examples of interesting uses of editing techniques to support the previous blog. Examples are taken from Up!, Kill Bill, and Casino Royale

Fade to Black: AS Film - Editing lecture - November 2013

Fade to Black: AS Film - Editing lecture - 09/11/12: Click this link for the same lecture given in November 2012

Fade to Black: A2 Film - Key sequences from 'Vertigo'

Fade to Black: A2 Film - Key sequences from 'Vertigo': In this blog post you will find thirteen key sequences from Hitchcock's Vertigo. You can use these for class presentation, individual a...

Fade to Black: AS Film - Sound in Film lecture November 2013

Fade to Black: AS Film - Sound in Film lecture 19/10/12: Click on this link for the sound lecture from 2012. In this lecture I again focused on the use of music in Trainspotting, but also looked at the use of dialogue in Pulp Fiction

AS Film - use of Mise en Scene and Cinematography in 'Scream'

Following on from last Friday's session, here is the opening sequence to Wes Craven's Scream (1996).

You can use this for your 1500 word sequence analysis if you wish, but remember the analysed part should be between 5-6 minutes in duration, so you cannot use the whole sequence.

You could also use this for the use of editing and also for the incredible use of sound.

Fade to Black: AS Film - Cinematography lecture 11/10/13

Link to the film sequences used on Friday 11 October - Shaun of the Dead, The Notebook and Jaws (the li-lo sequence)

Fade to Black: AS Film - Cinematography lecture 05/10/12: In this entry you will find the sequences studied today with regards to cinematography. Remember, we considered the size of six different ki...

Fade to Black: AS Film - Mise en Scene: Lecture 3 - 28/09/12

Fade to Black: AS Film - Mise en Scene: Lecture 3 - 28/09/12: Third and final week of focusing mainly on mise en scene. Firstly the opening three minutes of Steven Spielberg's war epic, Saving Priv...

Link to previous post for Saving Private Ryan and Schndler's List sequences - for last of the handwritten initial review analysis

Fade to Black: AS Film - Mise en Scene: Lecture 2 - 27/09/13

Fade to Black: AS Film - Mise en Scene: Lecture 2 - 21/09/12: This is the link for today's lecture session on Mise-en-Scene - it is from last year, but is still the same. You will need to analyse one of the sequences as part of your progress check on AS Film.

AS Film Facebook Group 2013-14

Follow this link for the AS Film Facebook group for 2013-14. Only students enroled onto this course at the Bournemouth and Poole College will be allowed to join.

All future blog postings will be linked to the group.

AS Film Facebook group 2013-14

AS Film: Mise en Scene - Lecture 1 13/09/13

Welcome to the supporting teaching blog for your AS Film Studies.

In today's lesson we considered one of the major cinematic techniques - Mise en Scene. This, as you will remember, translates as "everything in the frame". Mise en Scene includes: setting, location, costume, props, lighting and character placement, and has a vitally important role in how meaning is constructed by film makers, and consequently understood by the audience.

In this blog entry you will find the sequences shown today.

You may choose one of these sequences for your 1500 word coursework analysis. Other film sequences will be shown in the lectures the coming weeks which you can also choose from, as well as those which I did not show in the lessons.

IMPORTANT: You will be required to undertake a short 400-500 analysis of one of these three sequences as part of your initial review on the AS Film Studies course. This will help me assess your analytical and written skills in order to progress further onto this AS Level course.


William Shakespeare's Romeo and Juliet, directed by Baz Lurhmann (1996).
Consider how Lurhmann provides a modern take on a classic play in order to engage the contemporary audience. This is achieved by its modern setting, costumes and props, while still retaining the original language. Note how the repeated visual motif of fire set up the violence ahead.

Close Encounters of the Third Kind, directed by Steven Spielberg (1977)
Think about how Spielberg shows both fear and wonderment of the alien contact, through the eyes of the mother and her son. Note how ordinary, everyday objects ,or props, take on a new life in this extraordinary setting. You should also note how Spielberg uses creative lighting techniques to endorse the meaning of the sequence.

28 Days Later, directed by Danny Boyle (2002)
A sequence full of meaning, which Boyle achieves with his creative use of a deserted London as a setting, the use of costume and props, together with how he places the main character within the various locations.

Consider how directors use Mise en Scene in other films which you have watched.

More on Mise en Scene next week.

A2 Film - useful revision links for 'Vertigo'

Colour symbolism in Vertigo

Costume and Identity in Vertigo

Love, Desire, The Image and the Grave in 'Vertigo'

Use of profiles in 'Vertigo'

A2 Film - Useful article on the symbolic use of setting and location in 'Vertigo'

Very useful article regarding the symbolic use of the setting and various locations in Vertigo

Vertigo - more than just the streets of San Francisco

A2 Film - 'Fatal Attraction' trailer and alternative ending

In this post you will find the trailer for Fatal Attraction (1987) and the alternative ending.

The original ending was screened before the official release, but the results showed that the ts audience did not like it, saying it was too downbeat and that it should end with Beth shooting Alex. The director Adrian Lyne re-shot the ending in keeping with the wishes of the test audience.

Fatal Attraction trailer (1987)

The original ending

The released ending

CBS News report on the alternative ending

A2 Film - Emotional Response: "Fatal Attraction"

In this blog post you are asked to analyse at least four sequences from the film, Fatal Attraction.

You need to identify how the cinematic and narrative techniques used affect your emotional response. These should include the following elements:

Mise en scene (Setting, location, lighting, props, costume, character placement)
Performance
Cinematography - angles, movement, framing
Sound - dialogue and music
Editing - pace and detail

Narrative techniques such as enigmas, cause/effect, and use of dialogue should also be considered in framing an emotional response from the audience.

You should also consider how the audience is being 'positioned' to feel potentially different emotions for different characters.

Also consider how the audience theory of 'structured interpretation' may affect an audiences' emotional response. This will depend on factors such as age, gender, class, social background, religious beliefs, moral beliefs, education, social status, marital status etc.

Sequence 1 - Lying in the Park

Sequence 2 - A Married Man

Sequence 3 - Bloody Farewell

Sequence 4 - Alex is pregnant

Sequence 5 - Alex comes over

Sequence 6 - Not being ignored

Sequence 7 - Boiled Bunny

Sequence 8 - Bathroom Brawl

AS Film - useful Michael Caine interview regarding the making of 'Harry Brown'

For those considering revising 'Harry Brown' for the forthcoming exam, it is worth checking out this interview with Michael Caine. In it he talks about why he choose to do the film and his south-east London background. Might be some useful quotes regarding the issues of 'context' and representation.

Michael Caine interview

AS Film - 66.6 Rules of the Slasher Film

Following on from this classic scene from Scream are 66.6 rules for surviving a Slasher Film...or not...

1. Sex (drugs and alcohol) = DEATH

2.  Never say "I'll be right back..."

3. Never go to check on your friends…chances are they are dead already

4. If you are baby-sitting, never invite your boyfriend over

5. If you are female, never show your breasts

6. If you are female, never wear tight clothing

7. A combination of 4, 5 and 6 shows you are easy, lacking in any virtue and expendable

8. Stay a virgin – trust me, you will survive

9. Under no circumstances should you enter any dark place

10. Don’t answer the phone

11. Never go outside to investigate a strange noise

12. Never just stand there crying, mourning the loss of dead friends. RUN! You are next!

13. Never unmask the killer. This is guaranteed to really annoy him/her

14. If you wear glasses, invest in some contact lenses, otherwise you are always the first to go

15. Don’t hide in the wardrobe…that’s the first place the killer will look

16. When it seems you have killed the monster, never check to see if he/she is really dead. The killer will always come back for one last scare…normally shrieking out in a high-pitched scream…this should at least alert you that something is about to happen. Psycho killers rarely do anything quietly

17. Don’t go back into the house where a psychotic killer might be, even though you have just escaped from there. What are you, stupid or something?

18. Never walk backwards, you will either run into the killer or the dead body of a friend or loved

one

19. If you are home alone and hear a noise coming from another room or outside your window,

don’t assume it is the house settling or the wind

20. When something bad is chasing you, bear in mind that when you try and start your car, no matter how reliable the vehicle is normally, you’ll have to ignite the engine many times before it fires…

21. Actually check that you have your car keys with you in the first place

22. Do not search the basement or attic, especially when the power has gone out

23. If you are male, get out of there as fast as possible. There will ever only be one survivor…and it will be female

24. Don’t open any closed door, curtain, or window…or anything closed really

25. Never pick up the phone and call for help, chances are the line will be dead….as will you be at any moment

26. While we are on the subject, never leave home without a fully charged mobile phone that has full credit

27. Talking of which, if you answer the phone and hear heavy breathing at the other end, never assume it is your boyfriend playing a trick on you

28. If you are not the main character, suicide is a quicker and easier way out – and a lot less messy

29. No matter how fast you run from a psychotic killer, he will always get you, even if he is considerably slower than you are

30. If you are planning your next holiday avoid recently re-opened summer camps or log cabins in the middle of the forest. Stick to the Isle of Wight – much safer

31. Suspect everyone

32. When you have the benefit of numbers, never pair off or go off alone

33. If the young girls of the neighbourhood sing songs about the town bogeyman while jumping rope, consider moving…

34. However, make sure that nothing tragic or sinister has ever happened in your new home in the past, which is why it has been empty for so long and was ridiculously cheap

35. Always make sure that your friends are slower, weaker or dumber than you are

36. Never watch a horror film while you are in a horror film. You might give the psycho some new ideas of how to kill you

37. Falling asleep is generally a bad idea. Start panic buying extra strong coffee

38. If you are running from the killer, expect to trip up at least twice, more if you are female

39. In fact, something will trip you up even though there is nothing in front of you that could realistically trip you up

40. Sharp objects and soft skin do not go together

41. Personal hygiene must be put on hold until the killer is definitely finished off. Do not even think of having a bath or a shower. In fact, never step inside a bathroom. Okay, you will start to smell a bit, but no one is going to want to have sex with you – which might just save your life

42. Learn the art of listening and compromise – it is usually the loud-mouthed bitchy ones who can’t stop complaining who will end up dead, sooner or later

43. Consider doing a degree in urban legends. That way you will know every possible plot line and therefore keep you safe. However, do not take the degree at college or university. This is a fertile killing ground for psychos…one of whom is more than likely to be on your course

44. If, at some time in your past, you happened to sell your soul to the devil, dabbled with a ouija board, had your fortune told, or played a cruel and heartless prank on someone, then you are definitely screwed

45. If you are a member of the local police force, a private detective, a priest or a helpful passer-by, your life will be abruptly ended

46. Celebrate being a geek – you may be the eventual hero/heroine

47. However, if you are the geek who was tormented, bullied or ignored in the past, then you WILL have your bloody revenge

48. Be part of a happy, functional, regular family hiding no tragic or sinister past. If not, consider being adopted

49. Learn how to use a weapon properly. Learn how to keep hold of it, rather than dropping it in fright and allowing your would-be killer to use it against you

50. Make sure that all passengers in your car are the ones that you are meant to have. Always check the back seat

51. Running upstairs to the bedrooms or bathroom leaves you at a dead end and a messy death

52. Running downstairs to the cellar leaves you at a dead end and a messy death

53. You know where the front door is…USE IT!

54. Whimpering, whining or screaming tends to give away your hiding place

55. Be as ruthless and resourceful as the killer, but without the murderous tendencies. It would also help if you are a semi-attractive, virginal, teenage girl

56. Be vigilant of anyone wearing a mask of any description – and that includes going to fancy dress parties…

57. In fact, become a recluse and never socialise with any one

58. If you are cornered by the killer, engage him in conversation. Psychos simply love to talk, at length, as to why they are carrying out this murderous rampage. This may give you time to think of a cunning plan to get away. However, make sure that you are not naked at this point. In case you hadn’t already guessed, not being fully clothed is like signing your own death warrant

59. Don't ask stupid questions. If you find yourself having to say "Who's there?" or "Bob, is that you?" in a darkened environment, the chances are you really don't want to hang around for the answer

60. If you are about to finish school, college or university, then don’t bother going to the graduation party. No doubt you upset at least one person during your time there – the same person who has been plotting a grisly revenge. Stay at home and get them to post your results to you

61. Respect old people. If they tell you to stay away from somewhere, THEN DO IT! The reason they have lived to a good age is because THEY didn’t do what YOU are about to

62, Cats have a habit of jumping up and scaring you. When you realise it is just your beloved pet, you relax and breathe a sigh of relief, unaware that right behind you is a masked psychopath with a very large blade. Also, according to folklore, cats are in league with the Devil. Whichever way it is, Tiddles has to go!

63. Do not take an evening job delivering pizzas. For some reason psychopathic killers have an irrational dislike for anyone wearing an embarrassing corporate baseball cap while holding a twelve inch square cardboard box. Armed only with a ‘Meat Feast’ is simply no match for a chainsaw

64. If you hear the snapping of twigs when you are out for walk in the woods, do not assume it is cute, cuddly woodland creatures. It normally is the imminent sound of certain death

65. Trust no one

66. If you have followed all these rules, and you have survived, well done…sorry to be the one to break the news to you but…you WILL die in the sequel

Oh, and the .6? Well known fact that if you appear in the first ten minutes of the film you will have a one in six chance of either being the killer or being killed

Sweet dreams…