Friday, 5 December 2014
Fade to Black: 'Bringing It All Together" - Click on link
Fade to Black: 'Bringing It All Together" - 'Alien'...: In today's session we considered the four different cinematic elements of mise en scene, cinematography, sound and editing, and how t...
Friday, 21 November 2014
AS Film - More examples of Cinematography
In this post you will find the sequences from The Godfather, Seven and Saving Private Ryan
You may chose any of these sequences for your analysis coursework - you do NOT have to just use for cinematography, they can be used for any aspect of film form, such as mise en scene, editing and sound.
The Godfather (Francis Ford Coppola, 1972)
Secrets are spilled and murder is plotted at the opening to Coppola's masterpiece. Note the extremely low-lit atmosphere as Marlon Brando's sinister mafia boss, Don Vito Corleone, offers a local undertaker his services in exchange for who knows what? The cat was a stray who frequented the set and Brando persuaded Copploa to include it to add a touch of lightness and informality to an extremely dark scene. The slow tracking shot away from Bonnasera's face allows us to establish the shadowy environment with the menacing edge.
Seven (David Fincher, 1995)
The opening sequence to Fincher's dark-as-black-coffee crime film, introduces us to the main characters of Detective Somerset (Morgan Freeman) and Detective Mills (Brad Pitt). Note how the mise en scene of Somerset's monochrome apartment clashes with the gruesome crime scene which follows. The battle for supremacy between the older and younger detectives is shown through the technique 'blocking', as Fincher does not cut between the conversation, yet has the actors swap place and space.
Saving Private Ryan (Spielberg, 1998)
Spielberg raises the tension of a sniper pinning down the small band of American marines, as they try to rescue a French family. The grim situation is accentuated by the diffused colour, the incessant rain and the pleading of Vin Diesel's character as he lies helplessly wounded in the open land. The use of the hand-held camera and high angle shots accentuate the realism and vulnerability of Captain Miller and his squad. The sudden violence of Diesel being shot is matched by the brutal assassination of the sniper through his eyesight.
You may chose any of these sequences for your analysis coursework - you do NOT have to just use for cinematography, they can be used for any aspect of film form, such as mise en scene, editing and sound.
The Godfather (Francis Ford Coppola, 1972)
Secrets are spilled and murder is plotted at the opening to Coppola's masterpiece. Note the extremely low-lit atmosphere as Marlon Brando's sinister mafia boss, Don Vito Corleone, offers a local undertaker his services in exchange for who knows what? The cat was a stray who frequented the set and Brando persuaded Copploa to include it to add a touch of lightness and informality to an extremely dark scene. The slow tracking shot away from Bonnasera's face allows us to establish the shadowy environment with the menacing edge.
Seven (David Fincher, 1995)
The opening sequence to Fincher's dark-as-black-coffee crime film, introduces us to the main characters of Detective Somerset (Morgan Freeman) and Detective Mills (Brad Pitt). Note how the mise en scene of Somerset's monochrome apartment clashes with the gruesome crime scene which follows. The battle for supremacy between the older and younger detectives is shown through the technique 'blocking', as Fincher does not cut between the conversation, yet has the actors swap place and space.
Saving Private Ryan (Spielberg, 1998)
Spielberg raises the tension of a sniper pinning down the small band of American marines, as they try to rescue a French family. The grim situation is accentuated by the diffused colour, the incessant rain and the pleading of Vin Diesel's character as he lies helplessly wounded in the open land. The use of the hand-held camera and high angle shots accentuate the realism and vulnerability of Captain Miller and his squad. The sudden violence of Diesel being shot is matched by the brutal assassination of the sniper through his eyesight.
Fade to Black: AS Film - more examples of editing 21/11/14
Fade to Black: Fade to Black: AS Film - more examples of editing: Click on this link for more examples of film editing which you might chose for your sequence analysis - Up!, Kill Bill, Casino Royale
Fade to Black: Fade to Black: AS Film - Cinematography lecture 21/11/14.
Fade to Black: AS Film - Cinematography lecture .: Click on this link for examples of cinematography - Shaun of the Dead, Jaws, The Notebook
Fade to Black: AS Film - Editing lecture - 21/11/14
Fade to Black: AS Film - Editing lecture Click on this link for examples of editing terms and sequences analysed in the session - Platoon, The Birds, and Psycho
Friday, 10 October 2014
AS Film - The use of Mise en Scene in the opening sequence to 'Scream'
Today's session focused around the use of Mise en Scene in Wes Craven's classic post-modern horror film, Scream, from 1996.
The over-riding theme in the opening sequence is the gradual building of tension and dread, and this is achieved through the imaginative use of setting, location, costume, props, lighting and character placement in order to create 'meaning'. We also considered the performance of Drew Barrymore as the doomed character, Casey.
We also considered the use of various colours within the sequence, particularly red, white and blue. Although we focused mainly on the visual techniques, we also considered how Craven uses the camera to great effect with tilts, tracking shots and close up shots. There was also further discussion on some aspects of sound, mainly on the use of music and sound effects, such as the lone barking of a distant dog. These will be useful stepping stones to refer to when we move onto cinematography and sound design.
If you were unable to attend this session, you will be required to undertake an analysis of the first four and half minutes of the sequence, starting from the moment the Scream logo first appears on the screen. This should focus on the six aspects of Mise en Scene, including a comment on Barrymore's performance, and be posted as your own blog post in the usual manner and emailed to me.
The over-riding theme in the opening sequence is the gradual building of tension and dread, and this is achieved through the imaginative use of setting, location, costume, props, lighting and character placement in order to create 'meaning'. We also considered the performance of Drew Barrymore as the doomed character, Casey.
We also considered the use of various colours within the sequence, particularly red, white and blue. Although we focused mainly on the visual techniques, we also considered how Craven uses the camera to great effect with tilts, tracking shots and close up shots. There was also further discussion on some aspects of sound, mainly on the use of music and sound effects, such as the lone barking of a distant dog. These will be useful stepping stones to refer to when we move onto cinematography and sound design.
If you were unable to attend this session, you will be required to undertake an analysis of the first four and half minutes of the sequence, starting from the moment the Scream logo first appears on the screen. This should focus on the six aspects of Mise en Scene, including a comment on Barrymore's performance, and be posted as your own blog post in the usual manner and emailed to me.
Thursday, 2 October 2014
AS Film - Mise en Scene: Lecture 2 – 03/10/14
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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