Thursday, 18 February 2016
Tuesday, 2 February 2016
MS1 draft
The Dark Knight pent house scene
https://www.youtube.com/watch?v=ZhSqGupieog
In a film scene various micro-elements are vital in producing meaning and narrative to the audience. Elements such as cinematography and sound can be used to great effect in creating an enjoyable fictional world that the viewer can feel fully immersed through the use of shots as well as usage of diegetic and non-diegetic tones of sound. Both elements are vital to film making to elicit a a positive response from the audience. In this essay I will be identifying how Christopher Nolan's The Dark knight featuring Christian Bale as Batman and Heath Ledger's joker uses cinematography to develop a response from the audience through use of camera, editing, sound, Misc-en-scene.
At the beginning of the extract, inter cutting is used to draw multiple stories in the film together creating chaos to the audience, which due to the fast paced editing of jump cuts elicits the response of panic being causes by the antagonist which in this case is the joker, signifying to the audience of the mind set of the joker, and his goals which are creating chaos, the dark tone of the clip is quickly established through misc-en-scene as in the small montage of scenes one man is attacks, and two others are killed, indexically signifying the theme of darkness that the "dark" knight is demonstrating to the audience.
Non-diegetic music accompanies the in movie diegetic sound well, during the quick paced editing a drum beat and string motif builds tension, eliciting the response symbolically that the signification of building tense music has, the response is that the audience is aware something shocking is coming into effect, proven when the music stops as the gun shot fires, this kills the music completely, the sudden killing of the non-diegetic sound demonstrates top the audience how serious and real this situation is, the director is trying to create a real sense of realism as if you are in the crowd. Which is only defined by the use of head height camera shots, almost creating a POV shot as if the audience are in this room with the antagonist, the audience react in shock and fear just as the crowd in the scene do.
As the joker enters the shot, from the fast paced editing, it instantly stops, with 2 cuts from the next jump cut edit to a different setting, this use of long shot takes at a head height demonstrate the realist setting, signifying how this psychotic threat is totally realist and this shot almost acts as a form of real life simulation to the audience, maybe even triggering fears of terrorism that members of the audience have.
The joker's makeup is very conflicting in the shot, whilst people are terrified, his smile like scars juxtaposes the shot completely, whilst holding a fire arm, this man of terror walks through the shot, in an almost comedic way, throwing his glass of wine content in the air and drinking nothing, this slapstick like action with his conflicting facial marks just demonstrates the confusion represented in the extract, and the response of the audience would be suspenseful, being completely unpredictable demonstrates how conflicted and insane this man really is.
Again in this one shot the director wants to elicit the response that the audience are in this room, and through shaky hand held cam signifying that the audience are in a real life situation, and a clever use of diegetic sound emphasises this, we hear a sudden cough in the background, almost muffled demonstrating how the audience are meant to be completely silent, that coughing can be heard from a far way away in the background, the response the audience would elicit is that as they are at the front of the crowd they need to be completely alert and quite.
cross cutting is used to great effect in this extract to create juxtaposition, from the previous static shot with no non-diegetic music to another tracking protagonist Bruce Wayne with loud non-diegetic drum beats in mid-play, how the music is halfway through playing demonstrates how as this scene with the joker has been going on these events are also in continuation, which the audience would respond being in desperation to see our antagonist bring his force to the previous scene. His force and power is emphasised to the audience as he takes down an armed criminal and rips his gun to pieces.
Next the antagonist interacts with one of the crowd members to which he is replied to, the antagonists face completely changes from a calm expression, to a expression which symbolically signifies how the antagonists bipolar mood as just tilted. This shot demonstrates how the upper class respond to criminals, and how criminals respond to them as a change occurs quickly through this long take, as we look at the joker, we look at him from slightly lower angle over the shoulder, signifying how this upper class member is looking down at our antagonist being a criminal, his money in his eyes gives him power and higher status over the psychotic man with a knife in this members viewpoint. But as the reverse shot happens, we see the man from a lower angle over the shoulder shot as the antagonist has his life in the crowd members hands, demonstrating the power swap and how class and status means nothing to this psychotic man. The zoom to the crowd members face demonstrates to the audience how shocked this man of a higher class is, he has never been treated this way as he sees his life class before his eyes as he looks up at the people he once looked down upon and this signifies how much he regrets his life decisions. This elicits the response to the audience of fear as this antagonist is completely uncontrollable and the audience are now aware of how psychotic he really is.
Next as the joker approaches another lady known as Rachel, shot reverse shot signifies how these people are from different worlds, and creates huge juxtaposition of character as one: Rachel stands tall and firm in smart outfit as the approaching antagonist wielding a knife in a ripped mismatched coloured suit. This almost elicits the response to the audience of a metaphor being how crime and fear consumes all, even knows who look incorruptible.
A long non-diegetic continuous out of key minor string chord is introduced as he approaches, which gets louder throughout the clip, building suspense in the extract to the audience, as editing pace accelerates in the clip, building this tension even more, which creates the response to the audience to be even more attentive and focused as the tension builds.
The camera jump cuts from circling Rachel and the joker from an other the shoulder shot of Rachel before again cutting the a long take circle of the two characters, as the camera tracks around the characters it accelerates also until it suddenly stops to an other the shot shoulder of the joker, this demonstrates how the joker is the priority to the audience, they should be more focused on this reckless unpredictable character as the circling shot unpredictable comes to a stand still, which signifies to the audience the Joker's character and the audience should be awaiting the bipolar-like switch that is seen, this acts as a form of foreshadowing to the audience.
The joker almost monologues to Rachel, as shot reverse shot highlights Rachel's reaction to what he is saying, as Rachel looks away from him as if her eyes hurt looking at her, which signifies how horrifying the antagonist is, Rachel cannot stand the sight of him, just as diegetic sound states "she can't stand the sight of me" from the Joker about his wife as he monologues. The sight of our antagonist only brings around the connotations of a monster.
Once the climatic music peaks, the voice of batman is heard off screen, and then cuts to him next to the joker punching him away, the fact Batman is next to him and no one has noticed signifies to the audience how specialized his combat and spy training is, Non-diegetic plays the same theme from earlier as the action occurs through a number of shot reverse shot hand held cameras using a series of action match editing to show how the power switch from the joker has gone to our protagonist the Batman, the audience elicits the response of relief as other character Rachel must surely be safe as the power is now in the hands of the protagonist.
The Hand held action cut editing works erratically to create a shaky-cam like motion which helps to symbolically signify the chaos caused by the antagonist in the scene, misc-en-scene heavily suggests this as fast paced editing demonstrates the Joker running around, using unconventional moving strategies almost similar to a drunk person, this uncontrollable power falling about as a serious fighting scene acts as a huge oxymoron to the scene, non-diegetic dramatic orchestral music accompanies Grunts and punch sounds diegetically to demonstrate the tough and intensity of the scene. Which acts in contrast to see the Joker flinging himself about constantly to almost derail any and all tention builds, and this infers an enjoyable viewing experience for the audience as they are able to watch the film in surprise to what the action of the antagonist will do next.
Cross-cutting sound editing is used diegetically to sound the Joker's handgun whilst still looking at the batman, then after a reverse shot shows The Joker holding Rachel, this signifies the directors attempt to bring uncertainty to the scene, as the symbolic gun loading sound is heard, the audience are stuck in a state of awe unknowing why a gun could be heard.
Next when The joker is about to drop Rachel, it is irritably similar to Batman 89 directed by Tim burton which starred Jack Nicholson as the Joker and Michael Keaton as Batman, the death of the Joker showed a similar situation, but with batman holding The Joker off a building, This mid angle shot clearly symbolically signifies the ideas of that cult classic in fans to create false ideas and mislead the audience, as it looks irritable similar to that, audiences may think this is where Rachel dies.
This clever use of misc-en-scene helps to create an enjoyable cinematic experience for the audience as they cannot be entirely sure of what is going to happen due to the first chaotic outlook of the antagonist and symbolic significations of other and related films.
Christopher Nolan uses various micro-elements to develop a response from the audience through use of camera, editing, sound, Misc-en-scene in the penthouse scene to signify chaos in the world, and chaos of the main antagonist to elicit a positive viewing experience for the audience.
https://www.youtube.com/watch?v=ZhSqGupieog
In a film scene various micro-elements are vital in producing meaning and narrative to the audience. Elements such as cinematography and sound can be used to great effect in creating an enjoyable fictional world that the viewer can feel fully immersed through the use of shots as well as usage of diegetic and non-diegetic tones of sound. Both elements are vital to film making to elicit a a positive response from the audience. In this essay I will be identifying how Christopher Nolan's The Dark knight featuring Christian Bale as Batman and Heath Ledger's joker uses cinematography to develop a response from the audience through use of camera, editing, sound, Misc-en-scene.
At the beginning of the extract, inter cutting is used to draw multiple stories in the film together creating chaos to the audience, which due to the fast paced editing of jump cuts elicits the response of panic being causes by the antagonist which in this case is the joker, signifying to the audience of the mind set of the joker, and his goals which are creating chaos, the dark tone of the clip is quickly established through misc-en-scene as in the small montage of scenes one man is attacks, and two others are killed, indexically signifying the theme of darkness that the "dark" knight is demonstrating to the audience.
Non-diegetic music accompanies the in movie diegetic sound well, during the quick paced editing a drum beat and string motif builds tension, eliciting the response symbolically that the signification of building tense music has, the response is that the audience is aware something shocking is coming into effect, proven when the music stops as the gun shot fires, this kills the music completely, the sudden killing of the non-diegetic sound demonstrates top the audience how serious and real this situation is, the director is trying to create a real sense of realism as if you are in the crowd. Which is only defined by the use of head height camera shots, almost creating a POV shot as if the audience are in this room with the antagonist, the audience react in shock and fear just as the crowd in the scene do.
As the joker enters the shot, from the fast paced editing, it instantly stops, with 2 cuts from the next jump cut edit to a different setting, this use of long shot takes at a head height demonstrate the realist setting, signifying how this psychotic threat is totally realist and this shot almost acts as a form of real life simulation to the audience, maybe even triggering fears of terrorism that members of the audience have.
The joker's makeup is very conflicting in the shot, whilst people are terrified, his smile like scars juxtaposes the shot completely, whilst holding a fire arm, this man of terror walks through the shot, in an almost comedic way, throwing his glass of wine content in the air and drinking nothing, this slapstick like action with his conflicting facial marks just demonstrates the confusion represented in the extract, and the response of the audience would be suspenseful, being completely unpredictable demonstrates how conflicted and insane this man really is.
Again in this one shot the director wants to elicit the response that the audience are in this room, and through shaky hand held cam signifying that the audience are in a real life situation, and a clever use of diegetic sound emphasises this, we hear a sudden cough in the background, almost muffled demonstrating how the audience are meant to be completely silent, that coughing can be heard from a far way away in the background, the response the audience would elicit is that as they are at the front of the crowd they need to be completely alert and quite.
cross cutting is used to great effect in this extract to create juxtaposition, from the previous static shot with no non-diegetic music to another tracking protagonist Bruce Wayne with loud non-diegetic drum beats in mid-play, how the music is halfway through playing demonstrates how as this scene with the joker has been going on these events are also in continuation, which the audience would respond being in desperation to see our antagonist bring his force to the previous scene. His force and power is emphasised to the audience as he takes down an armed criminal and rips his gun to pieces.
Next the antagonist interacts with one of the crowd members to which he is replied to, the antagonists face completely changes from a calm expression, to a expression which symbolically signifies how the antagonists bipolar mood as just tilted. This shot demonstrates how the upper class respond to criminals, and how criminals respond to them as a change occurs quickly through this long take, as we look at the joker, we look at him from slightly lower angle over the shoulder, signifying how this upper class member is looking down at our antagonist being a criminal, his money in his eyes gives him power and higher status over the psychotic man with a knife in this members viewpoint. But as the reverse shot happens, we see the man from a lower angle over the shoulder shot as the antagonist has his life in the crowd members hands, demonstrating the power swap and how class and status means nothing to this psychotic man. The zoom to the crowd members face demonstrates to the audience how shocked this man of a higher class is, he has never been treated this way as he sees his life class before his eyes as he looks up at the people he once looked down upon and this signifies how much he regrets his life decisions. This elicits the response to the audience of fear as this antagonist is completely uncontrollable and the audience are now aware of how psychotic he really is.
Next as the joker approaches another lady known as Rachel, shot reverse shot signifies how these people are from different worlds, and creates huge juxtaposition of character as one: Rachel stands tall and firm in smart outfit as the approaching antagonist wielding a knife in a ripped mismatched coloured suit. This almost elicits the response to the audience of a metaphor being how crime and fear consumes all, even knows who look incorruptible.
A long non-diegetic continuous out of key minor string chord is introduced as he approaches, which gets louder throughout the clip, building suspense in the extract to the audience, as editing pace accelerates in the clip, building this tension even more, which creates the response to the audience to be even more attentive and focused as the tension builds.
The camera jump cuts from circling Rachel and the joker from an other the shoulder shot of Rachel before again cutting the a long take circle of the two characters, as the camera tracks around the characters it accelerates also until it suddenly stops to an other the shot shoulder of the joker, this demonstrates how the joker is the priority to the audience, they should be more focused on this reckless unpredictable character as the circling shot unpredictable comes to a stand still, which signifies to the audience the Joker's character and the audience should be awaiting the bipolar-like switch that is seen, this acts as a form of foreshadowing to the audience.
The joker almost monologues to Rachel, as shot reverse shot highlights Rachel's reaction to what he is saying, as Rachel looks away from him as if her eyes hurt looking at her, which signifies how horrifying the antagonist is, Rachel cannot stand the sight of him, just as diegetic sound states "she can't stand the sight of me" from the Joker about his wife as he monologues. The sight of our antagonist only brings around the connotations of a monster.
Once the climatic music peaks, the voice of batman is heard off screen, and then cuts to him next to the joker punching him away, the fact Batman is next to him and no one has noticed signifies to the audience how specialized his combat and spy training is, Non-diegetic plays the same theme from earlier as the action occurs through a number of shot reverse shot hand held cameras using a series of action match editing to show how the power switch from the joker has gone to our protagonist the Batman, the audience elicits the response of relief as other character Rachel must surely be safe as the power is now in the hands of the protagonist.
The Hand held action cut editing works erratically to create a shaky-cam like motion which helps to symbolically signify the chaos caused by the antagonist in the scene, misc-en-scene heavily suggests this as fast paced editing demonstrates the Joker running around, using unconventional moving strategies almost similar to a drunk person, this uncontrollable power falling about as a serious fighting scene acts as a huge oxymoron to the scene, non-diegetic dramatic orchestral music accompanies Grunts and punch sounds diegetically to demonstrate the tough and intensity of the scene. Which acts in contrast to see the Joker flinging himself about constantly to almost derail any and all tention builds, and this infers an enjoyable viewing experience for the audience as they are able to watch the film in surprise to what the action of the antagonist will do next.
Cross-cutting sound editing is used diegetically to sound the Joker's handgun whilst still looking at the batman, then after a reverse shot shows The Joker holding Rachel, this signifies the directors attempt to bring uncertainty to the scene, as the symbolic gun loading sound is heard, the audience are stuck in a state of awe unknowing why a gun could be heard.
Next when The joker is about to drop Rachel, it is irritably similar to Batman 89 directed by Tim burton which starred Jack Nicholson as the Joker and Michael Keaton as Batman, the death of the Joker showed a similar situation, but with batman holding The Joker off a building, This mid angle shot clearly symbolically signifies the ideas of that cult classic in fans to create false ideas and mislead the audience, as it looks irritable similar to that, audiences may think this is where Rachel dies.
This clever use of misc-en-scene helps to create an enjoyable cinematic experience for the audience as they cannot be entirely sure of what is going to happen due to the first chaotic outlook of the antagonist and symbolic significations of other and related films.
Christopher Nolan uses various micro-elements to develop a response from the audience through use of camera, editing, sound, Misc-en-scene in the penthouse scene to signify chaos in the world, and chaos of the main antagonist to elicit a positive viewing experience for the audience.
Thursday, 15 October 2015
My beautiful landrette
beautiful
laundrette reviews
Not just a gay love story!
This film works on a number of different
levels. Firstly, there is the love affair between the two main characters, Omar
and Johnny, brought to life by brilliant performances from both Gordon Warnecke
and Daniel Day-Lewis. The audience remains mostly in the dark about the history
shared by the lovers... were they lovers before their chance meeting and
subsequent re-discovery or were they just friends as children and lovers as
adults? Clearly, though, there has always been a close bond between the two
which has remained in tact, even after Johnny had abandoned his friend to join
a group of Neo-Nazis. This is where the real complexities of the story lie. The
fact that Omar and Johnny embark on a gay love affair seems almost incidental.
Rather, it is the power relations between the two that is important. Class,
ethnicity, kinship and community are central in shaping the way in which each
character perceives their role within the world. Thatcherism and the
'entrepreneurial spirit' has fuelled Omar's ambition to make something of
himself in 80s Britain. Conversely, Johnny seems to have resigned himself to
his downtrodden status since society has done nothing to help him, so why
should he do anything for society? Thus, class is very much an issue here.
Ethnicity, too, is key, as the roles of the downtrodden and oppressed seem to
have been reversed, with the white, working-class Johnny being the 'victim' of
the system rather than the Pakistani, middle-class Omar. Despite all of the
differences, however, essentially it is their love for each other that keeps
them together. There are occasions when Omar questions whether he and Johnny
can really be together in the long-term, such as when he contemplates marriage,
whilst Johnny seems to be subordinate, almost passive, towards Omar because of
his love for him. Despite all of their differences they both seem to have a
profound respect for one another, which will hopefully enable them to continue
their relationship, although the ending is left rather open. The main thing
when watching this is to view it not only as a gay love story. It also provides
a snapshot of 80s Britain and an illustration of the fluidity of identity, and
of the different life chances that people had, which is clearly still as
relevant today as it was back then.
He'll go
to college
"He'll (Omar) go to college and study. He
must. We all must. So we can see clearly who is doing what to whom." This
is the view of Poppa, Omar's father. This bedridden man is an ex-journalist
from Pakistan who has lived to see his wife throw herself in front of the
trains that rattle incessantly outside his flat and his own students march past
with National Front. To top it off, his younger brother, Nasser, who carried
his typewriter when they were boys back in Pakistan, has become the
"Sardou of South London," a big enough cheese to give his own son a
failed laundrette to run. "Government grant." But, Uncle Nasser has a
chink in his armor, too: will his relationship with his mistress, Rachel, last
as long as that with his wife? Both brothers look to a union between Omar and
Tania, yep, Nasser's daughter, as the key to the future of their band of
Pakistani immigrants in a land that doesn't want them. Will these energetic
offspring comply with their plans? Omar seems closer to the randy and
remorseful Johnny than anyone. Smart cookie that she is, Tania packs her
belongings in her Princess suitcase and...Everyone has a decision to make in
this fascinating sociological study of Thatcherite England. Wonder what
everyone is doing now?
Politics,
Sex, and Punk Rock
Want to see a side of London you won't get from
any other director? Then watch My Beautiful Launderette... The film opens with
a scene in which squatters are forcibly evicted from a derelict building.
Londoner viewers will recognize this as a sad yet common event... Immediately,
we are attuned to the political bent of the movie. Fortunately for that intent,
the dialogue in the film is intelligently written (note: this will not appeal
to the lowest common denominator -- it scores low on commercial appeal).
Unfortunately, the often "stiff" delivery of that dialogue is a
significant impediment. That said, Daniel Day Lewis lends a powerful presence
to his role as the punk squatter, Johnny.
The climax of the film aptly integrates the various tensions in the film: political, sexual, and social. We're surprised with a love scene between Johnny and Omar which is well-paced, erotic, and genuine.
The climax of the film aptly integrates the various tensions in the film: political, sexual, and social. We're surprised with a love scene between Johnny and Omar which is well-paced, erotic, and genuine.
My review
Positive review
'My Beautiful Laundrette' takes a look at the
80's local life within the Asian communities in England and between the British
Southeast Asians and the British Caucasians. What I loved about this film is
that it presents its themes without going overboard to explain or to resolve
anything. When we see a relationship develop between Omar and Johnny, one would
expect to see them get attacked for it and then expect a preachy message like
gays have rights too but there is nothing like that. There are scenes where the
British Asians are being humiliated but this too does not lead to a bloodbath
of sorts. It is all downplayed and subtle. It's about the characters, rather
than a social message (but that's there too).
'My Beautiful Laundrette' mainly centres on Omar and his relationship with Johnny. Hanif Kureishi is known for telling tales about unconventional relationships and I thought it was great that both characters were shown to be open about their relationships in spite of their background. I mean they weren't screaming from the roof or anything but these two individuals did not care what others would think concerning their relationships. Frears deserves full marks for telling the story in such a raw, real, humorous and coherent way. The humour too is subtle and dry and flows well through the story.
The renovated laundrette too plays a crucial role. It is a place of comfort for Omar and Johnny, kind of like a home they built and decorated. The customers are amused by the beauty of it. A fascinated Nasser dances with his girlfriend while the customers eagerly wait outside. Thus, it becomes a place of comfort for many.
'My Beautiful Laundrette' mainly centres on Omar and his relationship with Johnny. Hanif Kureishi is known for telling tales about unconventional relationships and I thought it was great that both characters were shown to be open about their relationships in spite of their background. I mean they weren't screaming from the roof or anything but these two individuals did not care what others would think concerning their relationships. Frears deserves full marks for telling the story in such a raw, real, humorous and coherent way. The humour too is subtle and dry and flows well through the story.
The renovated laundrette too plays a crucial role. It is a place of comfort for Omar and Johnny, kind of like a home they built and decorated. The customers are amused by the beauty of it. A fascinated Nasser dances with his girlfriend while the customers eagerly wait outside. Thus, it becomes a place of comfort for many.
Tuesday, 6 October 2015
06/10/2015 Film Industry Topic: Diversity
‘99% of women working in the film and TV industries have experienced sexism’
more on this article here http://www.theguardian.com/film/2015/sep/27/sexism-film-industry-stories
Researchers show diversity in film has not improved in almost a decade
A new study has revealed that out of over 30,000 characters since 2007, only 30.2% were female, while just 5.8% of directors were black
http://www.theguardian.com/film/2015/sep/23/research-diversity-film-not-improved-gender-race-sexuality
Tuesday, 22 September 2015
Film news week 1
Doris Day Might Make Her First Movie In 47 Years
According to the German tabloid bild, via The Guardian, the American Sniper director recently gave the 91-year-old actress, who just so happens to be his neighbor in Carmel Valley, California, a script. She was reportedly "delighted" at the opportunity, and things have moved on the point where the two sides are reportedly trying to work out a deal to make this thing happen. The film will be called "Sully"
Hayden Christensen to return in Star Wars episode VIII
Godzilla VS King Kong by 2018
My Beautiful Laundrette
As a cinematic examination
of postcolonial Britain, Stephen Frears’ My
Beautiful Laundrette, written by Hanif Kureishi, Here, I will discuss the
ways in which the film explores postcolonial identity, particularly in relation
to the politics of gender, questions of sexuality and the family unit, as well
as the cultural connotations that are inherent across each of these.
In the production, Frears
takes the approach of the postmodernist, examining the social structures and
cultural identity of Thatcher’s England in a realist fashion, offering a
narrative centred upon anti-heroes that hides from its viewers the judgements
of the storyteller. This notion is supported by Hill, who links Kureishi’s work
in the film to “ideas about the constructedness and fluidity of social
identities promoted in postmodern thinking and suggests that such formulations
are helpful in accounting for the strong sense of the criss-crossed nature of
identities”
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