Friday 29 March 2013

'The Long Good Friday' - Narrative Structure

In this post (which just happens to be put together on Good Friday, 2013) we shall consider how The Long Good Friday fits Syd Field's 'Three Act Structure'. This includes the complete film broken down into eleven parts (excuse the Spanish sub-titles, which may only come in useful if you are planning a summer trip to Ibiza, although I would avoid the translation of "You long streak of paralysed piss", especially at Passport Control).

We shall also consider the main enigmas of the narrative, alongside Cause and Effect, Central Problematic, and the Character Arc of Harold.

Act One - The Set Up

Colin helps himself to some money which he is delivering to someone in Belfast, Northern Ireland. Accompanying him on the trip is a driver. Colin meets a young man in a pub; however, the young man and Colin's driver are abducted, shot and dumped some miles away. Still in the Belfast area, three men are counting the money delivered by Colin, and find that it is not all there. While they try to work out what has happened, their country cottage is raided by armed police.

In London, a woman stops on her way to a funeral to spit at a young man, Jeff, sitting outside a cafe. This is noted by another man, Razors, who happens to be the young ma's driver, but he say's nothing.

Harold Shand is met by Jeff at Heathrow Airport, having just landed via Concorde from New York.


Act 2 - Confrontation

Harold prepares to meet Charlie, a New York Mafia don, on his yacht, moored in St Catherine's Dock. Lots of Harold's business associates are also present, including two police officers and a local councilor. His wife, Victoria, is also present and organising the on-board party.

Harold's mother attends church, as it is Good Friday.

Colin is fatally stabbed in the changing rooms of a public swimming pool by two men.

The car carrying Harold's mother to church is blown up while she is inside, killing one of Harold's gang.


Harold outlines his plans for his new business enterprise in London to his guests, including Charlie and his lawyer, Tony.

Colin's body is found at the swimming baths and Harold visits him, accompanied by Jeff and Razors. Harold and Colin were old friends, so Harold's grief quickly turns to anger as he tries to work out who might be out to destroy him.


Harold discovers that a bomb failed to go off at his casino and gets Parkin, one of the police officers on the yacht, to get it checked out.

Harold pays a visit to Errol, Parkin's top 'grass' in Brixton, but he does not know who might be out to ruin Harold, despite being tortured by Razors.


Harold's pub is blown up, just seconds before he arrives with Victoria, Charlie and Tony. He is informed that two Irishmen tried to intimidate the pub manager the night before. Parkin also informs Harold that the unexploded bomb from the casino is very similar to those used by the Irish Republican Army (IRA) (missing uploaded sequence).

Victoria takes Charlie, Tony and Harris to a restaurant and comes clean about the bombings and Colin's murder, while Harold tells his gang to pick up any one who might know something about an Irish gang operating in London.


At the restaurant Harris accuses Jeff of possibly being untrustworthy. Jeff escorts Victoria back to her apartment and they nearly kiss after Jeff indicates how much he wants her, but Victoria is brought to her senses. Harold gets no information from rival gang members after he has them brought to the abattoir, where Colin's body lies in cold storage.


Parkin is told by Harold that he is owned by him and cannot simply walk away now the going is getting tough. Harold is informed that there was a break-in at one of Harris's building yards and explosives were stolen. On arriving home Victoria tells him that Charlie now knows about the bombings and murders, upon which he lashes out at her.

The following day Harold tells Razors to track down the woman who spat at Jeff, as Victoria recalls the strange conversation between Jeff and Harris the night before. One of Harold's gang finds the security guard at Harris's building yard dying from having been nailed to the floor; Harold suspects that one of his gang is now a traitor.


Harold meets the widow of Colin's driver in Belfast, who informs him that Jeff hired him to do the run.

Back on the yacht Harold confronts Jeff about his involvement in Colin's murder and the death of the security guard.


Harold viciously stabs Jeff to death when he learns the truth about why the IRA are after him, knowing that he has been betrayed by both Jeff and Harris. He goes after Harris and tells him to arrange a meeting with the IRA.



Act Three - Resolution

At the race track Harold delivers money to the IRA as a pay-off, and just before he is executed, his own gang kill the two IRA members and Harris. Harold feels his retribution is now complete.

Harold tells Charlie that he has put an end to the trouble, but is informed that Charlie and Tony are leaving, deciding not to do business with Harold due to the risks involved. Harold informs the two Mafia members that he no longer has any need of them, and will go into partnership with another organisation.

As he leaves the hotel, he sees Victoria being abducted in a car, and realises that he, too, has been captured by the IRA. As he is held at gun-point by the same man who stabbed Colin, he knows he is being driven away to his fate.



Enigmas

Why is Harold's crime empire under threat?
Who is responsible?
Who can Harold trust?
What happens to Harold at the end?

The first three enigmas are eventually answered - the fourth is left open, but it is clear that Harold's fate is sealed.


Central Problematic

What if your must trusted friend betrays you to an unknown enemy?


Cause and Effect

Essentially all the 'effects' (or plot points) derive from the 'cause' in the opening few minutes when Colin takes the money from the suitcase. Because the IRA believe that Harold was behind it, they set about getting their revenge and retribution.

Harris's corruption and Jeff's greed are also 'causes' for the 'effect' Harold's eventual downfall, even though he thinks he has beaten his enemies until the last few minutes. Also Jeff's betrayal is the cause for Harold's murderous act on the yacht - the ferocity of which stems from the 'father/son' relationship which seems to exist between them.


Character Arc

Harold's character arc can be traced from the moment we see him first on the yacht, attempting to be seen as a legitimate businessman. It might be that with the extent of his criminal power and reputation, he can afford to be seen as such.

Gradually, as the murders increase, Harold's character changes as his confusion turns to anger, and the change of power from himself to an unseen enemy gathers pace.

He resorts back to criminal activities in place of respectable business practice in order to win the battle - he simply cannot walk away. His attempts to escape from a world of crime are instead replaced by the knowledge that he must stay in this world in order to maintain the respect.

There is also some arrogance and a fatal misjudgment as he underestimates the power of his enemy, a warning issued by Jeff, shortly before Harold stabs him to death with the broken bottle. Had he paid heed to this, he might have protected himself and Victoria from further attack by the IRA - as it is, the power has been taken away from him, as Jeff chillingly predicted.





Tuesday 26 March 2013

Fade to Black: Get Carter - part 2 of 8

Link to blog post for Part Two of Get Carter

Fade to Black: Get Carter - part 2 of 8: Part 2 - the funeral, Jack meets Margaret, the race track, Kinnear's house, Jack meets Glenda

Sunday 24 March 2013

Film Marketing: Independent Research for 'Producers and Audience' unit


As part of your research and revision for the WJEC AS Film Studies exam, you will need to
look at the important aspect of marketing. As this happens before an audience has potentially seen the film, the production company (or companies) need to maximise as much exposure for 
their product as possible.


Often an effective marketing campaign can 'make' a film - building up the exposure, dropping regular hints to the audience, and creating a 'buzz', turning it into an 'event'. Some marketing campaigns, it could be said, have been better than the product being released.

Your task is to become aware of various marketing elements which producers use to entice the audience. This will take the form of researching at least three films – one being British and ideally from different genres, (or compare how two genre films were marketed…same or different strategies?) and released in past few years. 

You will need to highlight the marketing strategies and see if they were successful or not? Why?

Examples (although you can choose different films, but ensure there is enough marketing material to research and analyse):



Avengers Assemble (Superhero/Comic Book)



Breaking Dawn: Part 2 (Fantasy/Horror)



Dear John (Romantic Drama)




Django Unchained (Western)




Dredd (Science Fiction)


The Amazing Spiderman (Superhero/Comic Book)




Ice Age: Continental Drift (Family/Animation)




Insidious (Horror)




Les Miserables (Musical/Drama)




Madagascar 3 (Animation/Family)




Magic Mike (Comedy Drama)




Paranormal Activity 4 (Horror)




Prometheus (Science Fiction)




Taken 2 (Thriller)




Texas Chainsaw Massacre: 3D (Horror)




The Dark Knight Rises (Superhero/Comic Book)




The Bourne Legacy (Thriller)




The Hobbit: An Unexpected Journey (Fantasy)




The Hunger Games (Science Fiction)




BRITISH

Anna Karenina (Literary Adaptation/Historical Drama)




Skyfall (Action)




Ill Manors (Crime/Social Drama)




My Week With Marilyn (Drama)



The King's Speech (Historical Drama)




The Iron Lady (Historical Drama)




The Sweeney (Crime)




The Woman in Black (Horror)




Tinker Tailor Soldier Spy (Literary Adaptation/Drama)



Tasks
Identify the production company responsible for the film

What catches your eye regarding certain marketing products associated with your chosen films? This could be:

A striking poster campaign – images and written text used, colours, different versions for different countries?

Particular toys, games, clothing or a competition released to help sell the film

An official web site – are there any links to other films associated with your chosen one, or produced by the company?

A memorable tag line or slogan

Press reviews used by the production company to sell the film (these are often found on posters

A soundtrack which may have been released – look at who the music company might be – how might they be related to the film production company?

How social media may have been used – official Facebook and/or Twitter page, You Tube for official trailers.

How much the marketing budget may have been for the film and how much in comparison to the cost of making the film? (This information may not be available for all these films, but try to find out as much as you can). Was it money well spent?

How might certain members of the cast or the director be used to ‘sell’ the film?

Other forms of marketing which helped to sell the film?

Key word to refer to is SYNERGY - where two or more products, elements or companies come together in order to maximise potential profits; i.e. soundtrack, games, clothing, fast food companies, toy manufacturers etc.

You may do the research individually, pairs or small groups.

Some of this research may find its way into one of the BTEC Level 3 Film Studies Unit assignments.

However - ALL of it may be useful for the 'Producers and Audiences' section of the WJEC Film Sudies exam in May



Saturday 23 March 2013

Fade to Black: History of the Slasher Film Part1 of 5

Fade to Black: History of the Slasher Film Part1 of 5: A more than useful series on the history of the slasher film, produced by the film critic and journalist, Mar Kermode. Absolutely required ...

Wednesday 20 March 2013

Trailers and sequences from 1970s and 1980s Slasher films

Following on from last week's introductory session on Slasher films, here are examples of some of the films mentioned.

Might be worth noting the very different style of film-making from today, how trailers may have changed over time, and the consistent use of 'Voice Over Man'...no film worth its name existed in the Golden Age of Slashers without that ominous low, gravelly voice intoning the impending doom of another bunch of stupid teenagers...

Separate blog posts will be made for one of our two focus films, Halloween, hence its exclusion here...

Trailer for The Texas Chainsaw Massacre (1974)



Trailer for Prom Night (1980)



Trailer for Friday 13th (1980) - deaths include going someone alone when there is a crazy axe murderer on the loose, teenage rumpy pumpy, and having rubbish early 1980s hair...



The current youth probably know him as the man in the EE adverts...the 1980s generation simply knew him as Kevin Bacon, the bloke who got the arrowhead through the throat in Friday 13th...




Trailer for Happy Birthday to Me (1981)




Trailer for My Bloody Valentine (1981)



Sequence from Slumber Party Massacre (1982) - a sequence notable for the following elements:

  • Underage drinking - which will probably lead to certain death
  • The inventive use of a fridge door to heighten the tension (think how this was also used in The Ring)
  • Obvious health and safety issues concerning mixing dairy products with dead teenage girls
  • The rarely used 'double scream' technique, which almost uncannily sound exactly the same



Sequence from The House on Sorority Row (1983) - re-made in 2009. Not mentioned in last week's lecture, but worthy of inclusion for its generic conventions, such as the university house location, drunken  parties, a host of available 'up for it' females, and this young lady, in particular, who decides to investigate a noise in a darkened basement, at night, with just a torch - shouldn't think anything bad will happen, do you?



Sequences from one of the most famous of all the Slashers - A Nightmare on Elm Street (1984), directed by Wes Craven, who would later direct Scream (1996).

In the opening sequence we are introduced to the iconic character of Freddie Kruger (although his face is kept hidden from view) and his nightmare world. The strangeness of this dream-like state will be a familiar motif throughout the film, until the audience is unsure as to what is a dream and what might be reality.



The sequence which all men should celebrate - the moment where a very young and too-handsome-by-half Johnny Depp meets a particularly bloody end...don't look so pretty now, do you, mate?



Guess that's not a rubber duck she's got for company in the bath...




Trailer for Silent Night, Deadly Night (1984) - probably best not to sit on this particular Santa's knee...




Trailer for The Stepfather (1987) - remade in 2009. Classic little chiller concerning the theme of 'who do you trust'? Under-rated at the time of release, but contains a social message regarding family values mixed in with some heart-stopping slasher moments...




Trailer for Fatal Attraction (1987) - another social message thriller, this time bound up in the AIDS crisis of the late 1980s, and a moral message of not to get involved with the wrong person, particularly if she seems to be an unhinged attractive woman with a taste for kitchen knives...the way Glenn Close delivers the line "I'm not going to be ignored, Dan" still sends cold shivers down my spine...



Trailer for Child's Play (1988) - where Toy Story meets Psycho








A 'Feminist reading' of Vertigo

A companion piece to the 'Freudian reading' of Vertigo posted in the previous blog entry. This presentation deals with a possible 'Feminist' approach to the film.

(again, thanks to Ms Henjyoji on Vimeo for the original resource)


Useful resource for the in-class exam practice assignment, and general revision for the actual WJEC exam in June.

A 'Freudian reading' of Vertigo

A visual presentation regarding the possible Freudian concepts found within Vertigo

(thanks to Ms Henjyoji on Vimeo for this resource)


You may wish to use this for your in-class exam essay exercise, and also for general revision for the actual WJEC exam in June.

It might also help to read around the subject of Sigmund Freud and how his work on psychological aspects of sex, sexuality and gender have been used in film studies, along with specific references to Hitchcock's films.

Saturday 16 March 2013

'Get Carter' - Crime Genre Themes: 1



This post will look at how Get Carter can be recognised as a crime film, with the emphasis being placed on its 'Britishness'. It will consider how the following generic themes are represented throughout the narrative, with examples taken from the film:


Revenge
Family
Honour
Justice
Moral code
Betrayal
Violence
Death
Retribution

Revenge
Carter wants revenge for the death of his brother, Frank

The Fletcher brothers can be seen to be extracting revenge against Jack. He was warned not
to go to Newcastle, and also sent evidence against the porn film gang, which probably include
the Fletcher brothers. 





Family
Jack, Frank and Doreen. There is a possibility that Doreen may be Jack's illegitimate daughter 
through an affair with Frank's wife.



Honour
Jack wishes to uphold the honour of his innocent brother, who tried to stand up against the 
criminal gang - in doing so he will seek revenge

He also protects the honour of his niece, or possible daughter, Doreen, for having been made 
to appear in the amateur porn film. The last shot of Doreen in the porn film shows Albert Swift 
on top of her, and the facial expression would suggest that it was not a pleasant experience.

Justice
Strongly linked to revenge.

What is delivered by Carter is 'criminal justice' - this is to say that he sorts the problems
himself, rather than go to the police. He does involve the police when sending evidence of the 
Fletcher's involvement in the porn film to Scotland Yard (he is planning to leave the country with 
Anna, so this would be his 'revenge' on the Fletchers', rather than trying to kill them, perhaps). 
He also alerts the police to the whereabouts of Margaret's body aftyer killing her, and in doing 
so, sets up Kinnear for her death.





 Moral Code

The moral code which Jack follows is dictated by his life as a gangster. His belief is that only
those who deserve punishment should receive it, and the innocent should be left alone, or
protected. This would have been true of gangsters like the Kray Twins, whose lifestyle the 
characters of Carter and the Fletcher brothers were modeled on. There is also a sense that if
one to break the accepted moral code (like Paice, for example, in killing Frank) then one
should expect some form of violent retribution as a consequence.


Betrayal

A key generic theme in crime films, betrayal lies at the heart of Get Carter. Margaret betrays
Frank, Margaret betrays Jack, Jack betrays Gerald, Anna betrays Gerald, Jack (possibly)
betrayed Frank (assuming Doreen might actually be his daughter), Jack and Cyril betray each
other (Jack to the hit man, Cyril to the police), Brumby betrays Jack. In a lifestyle built on an
accepted 'moral code of honour' (see previous themes), there is also a strong sense that you
should trust no one should you chose a life a crime, or a life of crime chooses you.





Violence and Death

Get Carter certainly has its share of these two linked generic themes, which are natural by
products of criminal lifestyle, particularly where men like the Fletcher's and Jack are
concerned. 

Throughout the narrative there occurs the following violent incidents:

Carter witnesses a pub brawl between two women, much to his amusement
Carter attacks Thorpe in an attempt to get information
Carter hits Margaret on the bridge for betraying him to Peter and Con
Brumby is attacked by Carter in his own home
Keith is beaten up by Kinnear's gang (the attack is unseen, but the result is not)
Carter stabs Albert twice as he kills him 
Glenda is almost drowned by Jack in her bath
The shoot out on the ferry ends with Peter being shot by Carter
Glenda is trapped in the boot of Jack's car as it is pushed into the dock
Brumby is thrown from the roof of the car park by Carter, dying in the process
Margaret is terminally drugged by Carter in order to frame Kinnear
Paice is beaten by Carter at the beach and his body dumped into the sea
Carter is shot by the hit man on the beach as he attempts to get rid of the gun





Retribution

Perhaps the key theme to Get Carter - and for nearly every crime film - retribution is the end
result of a life lived through crime.

For Jack, the retribution he delivers to those involved in the death of Frank and those
responsible for Doreen's appearance in the porn film (who are more often than not, the same
people), is completely justified. His presence in Newcastle is felt the moment he walks into the
bar by the railway station, as he looks and sounds different to all those around him. It is obvious
that he means business, and he will not stop until he has metered out his brand of justice and
retribution

His own death does, initially appear shocking, as it comes at the very moment
where he has succeeded in avenging all those connected to Frank's death. However, his fate
had been sealed the moment he went against Gerald's orders at the very beginning of the
narrative, by going to Newcastle. The hit man - 'J' - was on the train from London in the same
carriage, and it is his gun which inflicts the ultimate retribution on Jack, not forgetting he was
also having an affair with Anna, Gerald's wife.








'Get Carter' - Narrative Structure

In this blog post we shall consider the narrative structure of Get Carter. Included in this will be the following:

Act Structure
Enigmas
Problematic
Cause and Effect
Character Arc

Act Structure

Syd Field’s 3 Act Theory:
  Act One – the Set Up
  Act Two – Confrontation
  Act Three - Resolution



Act 1 - the Set Up
Carter plans to go to Newcastle to find out who killed his brother
Warned not to ‘interfere’ by his gangster boss

Ignores warning and goes anyway

Arrives in Newcastle

Arranges a meet with Margaret



Meets Doreen, his niece, at Frank’s funeral



Act 2 - Confrontation

Meets with various characters who may have information

Albert Swift

Eric Paice

Cyril Kinnear

Cliff Brumby


Two ‘heavies’ are sent to bring him back to London



Carter begins to unravel the reason for Frank’s death

Sees the porn film – connects Frank’s death to Brumby, Kinnear, Swift and Paice




Kills Swift and Brumby for film involving his niece




Allows Glenda to die for same reason, after killing Peter during the ferry shoot out

Sends evidence of porn film to police and tips them off about Kinnear’s drug and vice 
links

Arranges for Paice to be ‘sacrificed’ by Kinnear for his ‘silence’

Carter kills Margaret – part revenge for her involvement with Frank, and to help set
up Kinnear


Act 3. Resolution
Kinnear is arrested
Carter kills Paice – revenge for his active involvement in Frank’s death


Carter is killed by hit man 






Enigmas

Who killed Frank?

Who knows what and who is involved and how?

Is Doreen actually Carter's illegitimate daughter?

Will Carter get revenge? 



The Central Problematic

What if you go against the wrong people, while seeking justice?



Cause and Effect

Frank is killed (cause), Jack wants answers (effect)

Jack goes to Newcastle (cause), gets 'justice' (effect)

Jack goes against his bosses orders (cause, beginning), gets killed (effect, end)



Character Arc

Jack is unaware of who killed his brother at the beginning

As narrative progresses, he gains understanding of the murder, also shows a 
softer side of his nature towards his niece, Doreen.

Plans new life after gaining complete revenge

Killed in last scene