In this blog post you will find MP4 files for the film
sequences studied in today's session.
Hopefully you are now looking at film in a different way - you should also be thinking of particular sequences I have now shown which you may wish to do for your coursework analysis. You need only do one, but having a few possibilities might not be a bad thing at this early stage.
Hopefully you are now looking at film in a different way - you should also be thinking of particular sequences I have now shown which you may wish to do for your coursework analysis. You need only do one, but having a few possibilities might not be a bad thing at this early stage.
The Ring (2002) director: Gore Verbinski
Note how Verbinski uses everyday props within the mise en scene, such as
the phone, the television, the remote control and the fridge, to
create tension and suspense. The setting and location are also
typical horror conventions, which allows the audience to immediately respond to
the intended meaning: two girls are alone in a house at night and it is
raining...this may not end well! Finally note where Verbinski places the
character of Katie in the frame before she ascends the stairs - why might this
be significant? W shall also cover this particular shot in Week 4's look at
Cinematography.
Forrest
Gump (1994) director: Robert Zemeckis
In this opening sequence consider how Zemeckis uses a simple prop of a feather to track the 'action'. It floats from one character to another before settling on Forrest, who adds it to his collection - these are also important props which are used to tell his incredible story. Note how we first see Forrest placed at the edge of the frame at 1.23, as if the feather is searching out someone, but he does not yet have any importance.
In this opening sequence consider how Zemeckis uses a simple prop of a feather to track the 'action'. It floats from one character to another before settling on Forrest, who adds it to his collection - these are also important props which are used to tell his incredible story. Note how we first see Forrest placed at the edge of the frame at 1.23, as if the feather is searching out someone, but he does not yet have any importance.
Don't
Look Now (1973)
director: Nicholas Roeg
Roeg's background as a painter is highlighted here with his constant use of the colour red in this disturbing and enigmatic opening sequence to his psychological horror film. Note also the significant use of water, the cross-cutting between shots of the little girl by the lake and the actions of her parents in the house (we shall consider cross-cutting in more detail when we look at Editing in Week 8), and the use of the red coat as costume.
Roeg's background as a painter is highlighted here with his constant use of the colour red in this disturbing and enigmatic opening sequence to his psychological horror film. Note also the significant use of water, the cross-cutting between shots of the little girl by the lake and the actions of her parents in the house (we shall consider cross-cutting in more detail when we look at Editing in Week 8), and the use of the red coat as costume.
Seven
(1995) director: David Fincher
Fincher contrasts the two detectives, played by Morgan Freeman and Brad Pitt, by placing them at different heights, angles and positions within the frame, as both to try gain initial dominance over the other. The contrast is also extended to the mise en scene of costume and props, with Somerset, played by Freeman, being fastidious and minimal in his clothes, domestic environment and what he needs to be a detective. Mills, played by Pitt, in contrast, is wilder, brash and informal.
Fincher contrasts the two detectives, played by Morgan Freeman and Brad Pitt, by placing them at different heights, angles and positions within the frame, as both to try gain initial dominance over the other. The contrast is also extended to the mise en scene of costume and props, with Somerset, played by Freeman, being fastidious and minimal in his clothes, domestic environment and what he needs to be a detective. Mills, played by Pitt, in contrast, is wilder, brash and informal.
Like last week, I want you to choose one of the four sequences shown in the lecture and undertake an analysis of it. This time the word count is raised to between 600-700 words.
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