Tuesday 29 November 2011
Editing Research: Saving Private Ryan
The shots held in the first minute and 50 seconds are very long,this creates a tense atmosphere,the viewer isn't really sure whats happening,if there will be a sudden explosion. The middle shot of the all the soldiers and their actions,gives you a sense of familiarity,these soldiers could be anyone,someone you know and their about to die,making the viewer feel more empathatic already in the film.The fighting of the enemy,is approaching and the men have to detatch themselves from who they actually are and turn into soldiers and do what they have signed up to do. They say goodbye to that but acknowledging their faith or family. The close ups of the soldiers face,shows they have to be composed and calm,almost blank,they have to turn off any ounce of compassion and almost humanity and kill foreign men, in the name of their country.
The pace after the whistle blows changes, it goes from calm and scared but to franctic,hetic and the pace is quite hard to follow as so much happens in such a small time. The POV shots are shakey,showing the soldiers fear and sadness at seeing their comrades die in such a silent, shocking way and switches to 'the enemy'-who again are only doing what they enlisted to do but seeing the ferociousness, quickness and violently they kill, gives the audience a sense of anger,in a short time,they have formed a empathtic bond with the American soldiers and divides the characters on screen,to a 'them' and 'us'.The pacing under water slows quite dramatically in contrast to the earlier execution of the soldiers,the pacing creates an eerie calming effect,is this what it feels like,when you know you're about to die,a calm acceptance and almost relief. It cuts between a soldiers pov,trying not to drown;when he's underwater,there's the sense of calmness yet when he rises above the surface,its frantic pace ,of the horrors of action in war. This effect I believe is to shock the viewer, many of the soldiers would rather drown than continue to fight and how easily and readily each soldier embraces and accepts death.
The pace then again changes and 4 and a half minutes. The effect is one of shell shock from the lead character. Everything seems to slow down,the violence that we can hear is muted out,allowing the audience to truly focus on the injuries the soldiers are suffering. It conveys a helplessness that the main character must feel, his soldiers,friends and potential family are dying without even a chance of surviving and for what? The close up of the blood tainted sea and helmet only emphasis this point, as he puts back on his helmet,knowing that he can either die doing nothing or die attempting to help his comrades and country.
The close up of his face, which is shell shocked and pale-showing he is just another innocent soldier,been upsurped from his everyday life, fighting after orders from his government and country, in the name of democracy.
A more frantic pace,would of given the audience less time to connect with the soldiers and Tom Hank's character in the beginning,diluting the sombre effect of the audience knowing that these men,risking their lives and being killed could be anyone,making the relatability fade and the film have more of an violent action film tone, rather than the more realistic horror of war intensity it had,with the secondary plot of comradeship and family.
"Saving Private Ryan has been critically noted for its realistic portrayal of World War II combat. In particular, the sequence depicting the Omaha landings was voted the "best battle scene of all time" by Empire magazine and was ranked number one on TV Guide's list of the "50 Greatest Movie Moments".[The scene cost US$12 million and involved up to 1,500 extras, some of whom were members of the Irish Reserve Defence Forces. Members of local reenactment groups such as the Second Battle Group were cast as extras to play German soldiers. In addition, twenty to thirty actual amputees were used to portray US soldiers maimed during the landing. Spielberg did not storyboard the sequence, as he wanted spontaneous reactions and for "the action to inspire me as to where to put the camera".
The tracking shots follow soldiers,dying in horrible ways with barely any time to defend themselves or attack back. Its a slaughter.
As in Saving Private Ryan, we felt our protagonist should connect with the audience and due to her situation, they would, especially the female audience.
Spielberg, made the audience empathise with the soldiers, especially Tom Hank's character, through the use of close ups and extreme close ups, to really concentrate on the emotions running through the soldiers face. We chose to film a similar shot in Infatuation, with an extreme close up on Flo's face to portray the anxiety she feels, after the eerie feeling of being followed she experiences.
We also used fast edits, to change the pace of the film, as the action progressed. The stalking and subsequent chase scene is the climax of the opening and accompanied with the change in the music, the audience were too get into the antagonist's mind, especially with the handheld movement.
Monday 28 November 2011
Editing Research
Edwin S. Porter: Life of An American Fireman (1903)
One of the earliest films to include the editing technique.
http://www.youtube.com/watch?v=p4C0gJ7BnLc
One of the earliest films to include the editing technique.
http://www.youtube.com/watch?v=p4C0gJ7BnLc
There are about 9 different cuts in the film,comparing this to modern day editing this is a tiny amount,we have cuts such as cross cutting and much smoother transitions. We now use editing to draw attention to certain details and add depth to clips.
There is only a close up and the rest are just long shots from a static camera. The lack of different angles creates a rather static,straightforward chronological narrative. Modern day films,use a variety of cuts and shots to create different effects from different characters points of view. An action film would use a large amount of cross cuts, to create a fast pace and a high energy tone. Certain angles would be used to show a character social position in comparison to another character e.g the antagonist would use a low angle, in order to make them look powerful and dominant.
The narrative follows a progressive,chronological order however the continuity is ruined, due to lack of editing,where a cross cut would be needed. The fireman is seen entering the house,rescuing the woman and exiting. However in the next scene,in order to see the action in a different perspective, we see the woman gesturing for help and then fireman enter the building. In order not to disorientate the viewer, in modern day film, cross cuts would have been used.There is only a close up and the rest are just long shots from a static camera. The lack of different angles creates a rather static,straightforward chronological narrative. Modern day films,use a variety of cuts and shots to create different effects from different characters points of view. An action film would use a large amount of cross cuts, to create a fast pace and a high energy tone. Certain angles would be used to show a character social position in comparison to another character e.g the antagonist would use a low angle, in order to make them look powerful and dominant.
In most Hollywood films, editing helps determine at least four dimensions of film narrative: in what order you receive information about the plot, how much information you are supposed to receive about the narrative, how you are supposed to feel about events and characters at any given time, and how you are supposed to experience the pace of the narrative. In addition, as the idea of montage suggests, editing can serve an intellectual function, often making aesthetic, political, or ideological assertions about the activities you are seeing, as well as emotional appeals. This latter activity tends to belong more to the world of avant-garde and experimental films.
Psycho 'Shower scene'
1st viewing: how many cuts are there? 66
2nd viewing: how long is each edit? What happens to the pace of the editing? The beginning of the scene is quite lengthy and a relaxed pace,with around 5 cuts but as the mysterious figure approaches,the cuts get more quick and erratic,making the audience eyes more difficult to adjust to each scene and more panicky and tense.
3rd viewing: how does the length of each edit link to the narrative?
4th viewing: how does Hitchcock control the audience's reactions through his editing? 'You know that the public always likes to be one jump ahead of the story; they like to feel they know what’s coming next. So you deliberately play upon this fact to control their thoughts. You turn the viewer in one direction and then in another; you keep him as far as possible from what’s actually going to happen.'
4th viewing: how does Hitchcock control the audience's reactions through his editing? 'You know that the public always likes to be one jump ahead of the story; they like to feel they know what’s coming next. So you deliberately play upon this fact to control their thoughts. You turn the viewer in one direction and then in another; you keep him as far as possible from what’s actually going to happen.'
Through the use of large amount of cross cuts, the action in the scene is frantic and disorientating to the viewer,there is so much action to follow, it intensifies the viewers fear of this unknown killer,due to the sudden,shocking violence.
Taking inspiration from Pyscho and the cross cuts, we felt adding this to Infatuation, in the chase scene would intensify the fear for the protagonist and for the viewer. Adding with the handheld movement, this would inlude the viewer in the film and chase, making Infatuation more connectable with the audience. As in Pyscho, we led the audience into a state of tension through the music but with a lack of action, as the music intensified, so did the narrative with the climatic chase scene.
Monday 14 November 2011
Practice Shots
We decided to practiced some of the main shots we will use throughout our opening in order to make our continuity look more effect and professional.
Wednesday 9 November 2011
Analysis of psychological thriller
The credits of the producer and distributioners, is splashed with coloured paint,something usually associated with children and a key theme to the film.
Mis en Scene
Settings/ backgrounds are used throughout this trailer to create realism.
Schools are a common convention of a psychological/slasher horror; the victims are either students or the killer has had a traumatic childhood and wants to seek revenge. The main setting is in the family’s home, making the audience more relatable to the victims situation and scared,as it could be them,making the film more thrilling and un-nerving.
We see a hospital, a park,settings both realistic and used in films such as Prom Night or Scream.
Other mise-en-scene elements add to the effect. Esther’s dark, old-fashioned costume and watching her sister sleep in the dark,with the thunder and lightening,shocking and scaring the audience.
The combination of Diegetic and Non Diegetic Sound is used to create fear and anticipation for the audience. Diegetic sound has been used in this film trailer to help aid the target audience’s understanding of the narrative. Towards the middle of the trailer, we hear the mother’s voice say “I think there is something wrong with Esther”. Immediately, the target audience are aware that something bad is going to happen and that Esther isn’t the child we first thought to be is a lie. Yet her violent tendencies,are emphasised, in the scene, where she is locked in the toilet,violently kicking the wall, again shattering the image of her 'angelic nature',with a close up of her foot hitting the wall.
When first meeting her future parents, Esther states “I guess I am different”, so from the beginning, on a sub conscious level, the audience become aware that this is no ordinary child. During the climax of the trailer, dialogue becomes mainly screams and shouting; the mother on numerous occasions shouts out “What did you do!” “What are you doing?!”
This then makes it apparent to the target audience that the family are in trouble and that Esther is the one causing the trouble. Esther’s scream, on the other hand, which we hear about half way through the trailer, is spine chilling and signals her disturbed mental state, again hinting that there is ‘something wrong’ with this child, confirmed when her mother,rings a psychiatric hospital in Russia.
When first meeting her future parents, Esther states “I guess I am different”, so from the beginning, on a sub conscious level, the audience become aware that this is no ordinary child. During the climax of the trailer, dialogue becomes mainly screams and shouting; the mother on numerous occasions shouts out “What did you do!” “What are you doing?!”
This then makes it apparent to the target audience that the family are in trouble and that Esther is the one causing the trouble. Esther’s scream, on the other hand, which we hear about half way through the trailer, is spine chilling and signals her disturbed mental state, again hinting that there is ‘something wrong’ with this child, confirmed when her mother,rings a psychiatric hospital in Russia.
Non Diegetic Sound has been used in this trailer to create a sense of fear and suspense. The sounds/music excites the target audience and makes them want to know what happens next, thus making them want to go and watch the film. At the start of the trailer, a light piano piece is being played contradicting the genre of the film but emphasis on Esthers innocent persona, that she uses as a 'shield'. As the trailer digresses, the music becomes more eerie and the tempo builds up which suggests to the target audience that the action/ horror is about to take place. During the climax of the trailer, there is a sharp beat that gradually gets louder and louder, similar to a heartbeat.
Camera shots are used to highlight, Esther's growing dominance over her peers and family. An extreme close up of children’s playground equipment, of the hinges of a tire spinning, in a deserted playground,something also disconcerting to the audience; a playground should be bustling with children and their parents. It then fades to black, with a continuation of speech from the psychologist’s analysis of Esther, only stopping for sound effects such as the squeak of the playground equipment. Another extreme close-up of the hinges on a set of swings also appears,emphasising Esther and the playgrounds isolation.
The scene,where Esther sees her school bully, we track the girl up to the top of one of the play instruments where she appears to push her off. A shot is then shown of Esther at the top, looking powerful and like it was her kingdom, her domain, due to the low angle of the shot,also contrasting to her victim,who was once the alpha and is now the weak,victim.
Camera shots are used to highlight, Esther's growing dominance over her peers and family. An extreme close up of children’s playground equipment, of the hinges of a tire spinning, in a deserted playground,something also disconcerting to the audience; a playground should be bustling with children and their parents. It then fades to black, with a continuation of speech from the psychologist’s analysis of Esther, only stopping for sound effects such as the squeak of the playground equipment. Another extreme close-up of the hinges on a set of swings also appears,emphasising Esther and the playgrounds isolation.
The scene,where Esther sees her school bully, we track the girl up to the top of one of the play instruments where she appears to push her off. A shot is then shown of Esther at the top, looking powerful and like it was her kingdom, her domain, due to the low angle of the shot,also contrasting to her victim,who was once the alpha and is now the weak,victim.
Tuesday 8 November 2011
Research: Top 10 Stalker Films
Website link:Top 10 Stalker films
1. Fatal Attraction (1987)Glenn Close personifies crazy in this jilted-lover thriller about a married man (Michael Douglas) who has a weekend affair with a woman who refuses to allow it to end. Her obsession escalates from stalking to kidnapping and attempted murder before a final showdown with Douglas' wife. If there was ever a convincing case in film for men to stay faithful, this is it.
2. Scream (1996)
The masked-killer film that revitalized the stalker/slasher genre in the mid-nineties was a massive commercial success and featured several teen idols of the time, including Neve Campbell, Drew Barrymore, Courtney Cox and Rose McGowan. Plot twists and murder motives abound, and audiences were captivated enough to come back for two sequels (a fourth film is in the works).
3. Taxi Driver (1976)
Robert De Niro is Travis Bickle, an unstable, lonely Vietnam vet with insomnia who becomes a taxi driver to pass the nights. His rejection at the hands of a love interest (played by Cybill Shepherd) drives him to violent thoughts and an immersion into an intense physical training regimen to prepare for a war on the moral decay of society. He ends up attempting to assassinate a senator and kill himself as well, with disappointing results - for him, not the moviegoer. The film is commonly praised as the finest work of both De Niro's and Scorsese's careers.
4. Cape Fear (1991)
This Martin Scorsese remake of a 1962 film of the same name centers on the fantastic Robert De Niro as Max Candy, a jaded ex-con out for vengeance against Sam Bowden (played by Nick Nolte), his former lawyer. Max terrorizes Bowden's family in the quiet resort town of New Essex, North Carolina, until an epic thunderstorm-showdown between the two men put an end to things once and for all.
5. The Fan (1996)
This psychological thriller starring Robert DeNiro and Wesley Snipes explores the obsessive dedication of certain sports fanatics - in this case, baseball. De Niro's character grows increasingly disturbed throughout the film, as his favorite player's performance spirals downward and his own life follows suit. Once people start dying, however, the game appears to be over. Or is it just getting started?
6. Fear (1996)
Back when Mark Walhberg was still known as Marky Mark of “Marky Mark & the Funky Bunch,” his take on the possessive psychopath David offered the first real glimpse of his acting chops. He starred alongside love interest Reese Witherspoon, a teen also headed for greater roles on the silver screen, in this dark tale of obsession and betrayal.
7. One Hour Photo (2002)
What makes this stalker flick super creepy is the fact that bad guy Robin Williams finally plays totally against type, shocking the viewer into devoted belief in his lonely photo-shop employee who grows ever more jealous of one particular family’s seemingly perfect lifestyle (as he sees it through their pictures). Pushed over the edge after he is accused of theft, the four-eyed photobug decides to tear the family apart.
8. The Hand That Rocks the Cradle (1992)
Rebecca De Mornay is woman who blames a family for her miscarriage and her husband's death, and in return poses as a nanny to infiltrate their lives and get revenge. The film was dismissed by most as a cheap knock-off of Fatal Attraction, but it deserves better - De Mornay shines as a murderous homewrecker in this one.
9. Single White Female(1992)
Bridget Fonda is the object of Jennifer Jason Leigh's affections in this creepy roommate thriller that serves as living proof that even some of the sweetest girls are stone-cold crazy. As Leigh's character progresses from jealousy and creepy impersonations to outright murder, studio apartment leases skyrocket.
10. Sleeping with the Enemy (1991)
Julia Roberts goes into hiding when her husband turns into a violent maniac, and of course he tracks her down in this dated but entertaining '90s flick. Patrick Bergin nails the psycho ex-husband role, and is one of the best you’ll see in any stalker movie.
1. Fatal Attraction (1987)Glenn Close personifies crazy in this jilted-lover thriller about a married man (Michael Douglas) who has a weekend affair with a woman who refuses to allow it to end. Her obsession escalates from stalking to kidnapping and attempted murder before a final showdown with Douglas' wife. If there was ever a convincing case in film for men to stay faithful, this is it.
2. Scream (1996)
The masked-killer film that revitalized the stalker/slasher genre in the mid-nineties was a massive commercial success and featured several teen idols of the time, including Neve Campbell, Drew Barrymore, Courtney Cox and Rose McGowan. Plot twists and murder motives abound, and audiences were captivated enough to come back for two sequels (a fourth film is in the works).
3. Taxi Driver (1976)
Robert De Niro is Travis Bickle, an unstable, lonely Vietnam vet with insomnia who becomes a taxi driver to pass the nights. His rejection at the hands of a love interest (played by Cybill Shepherd) drives him to violent thoughts and an immersion into an intense physical training regimen to prepare for a war on the moral decay of society. He ends up attempting to assassinate a senator and kill himself as well, with disappointing results - for him, not the moviegoer. The film is commonly praised as the finest work of both De Niro's and Scorsese's careers.
4. Cape Fear (1991)
This Martin Scorsese remake of a 1962 film of the same name centers on the fantastic Robert De Niro as Max Candy, a jaded ex-con out for vengeance against Sam Bowden (played by Nick Nolte), his former lawyer. Max terrorizes Bowden's family in the quiet resort town of New Essex, North Carolina, until an epic thunderstorm-showdown between the two men put an end to things once and for all.
5. The Fan (1996)
This psychological thriller starring Robert DeNiro and Wesley Snipes explores the obsessive dedication of certain sports fanatics - in this case, baseball. De Niro's character grows increasingly disturbed throughout the film, as his favorite player's performance spirals downward and his own life follows suit. Once people start dying, however, the game appears to be over. Or is it just getting started?
6. Fear (1996)
Back when Mark Walhberg was still known as Marky Mark of “Marky Mark & the Funky Bunch,” his take on the possessive psychopath David offered the first real glimpse of his acting chops. He starred alongside love interest Reese Witherspoon, a teen also headed for greater roles on the silver screen, in this dark tale of obsession and betrayal.
7. One Hour Photo (2002)
What makes this stalker flick super creepy is the fact that bad guy Robin Williams finally plays totally against type, shocking the viewer into devoted belief in his lonely photo-shop employee who grows ever more jealous of one particular family’s seemingly perfect lifestyle (as he sees it through their pictures). Pushed over the edge after he is accused of theft, the four-eyed photobug decides to tear the family apart.
8. The Hand That Rocks the Cradle (1992)
Rebecca De Mornay is woman who blames a family for her miscarriage and her husband's death, and in return poses as a nanny to infiltrate their lives and get revenge. The film was dismissed by most as a cheap knock-off of Fatal Attraction, but it deserves better - De Mornay shines as a murderous homewrecker in this one.
9. Single White Female(1992)
Bridget Fonda is the object of Jennifer Jason Leigh's affections in this creepy roommate thriller that serves as living proof that even some of the sweetest girls are stone-cold crazy. As Leigh's character progresses from jealousy and creepy impersonations to outright murder, studio apartment leases skyrocket.
10. Sleeping with the Enemy (1991)
Julia Roberts goes into hiding when her husband turns into a violent maniac, and of course he tracks her down in this dated but entertaining '90s flick. Patrick Bergin nails the psycho ex-husband role, and is one of the best you’ll see in any stalker movie.
Title Ideas
Today we discussed potential title ideas and felt the theme of obsession and unrequited love would be key to the title. Our first point of discussion was the length on the title, we deciding on a maximum of 3 words, so that it would be catchy and stick in the audience's mind. The words would have negative connotations but be connected to unrequited love, in keeping with our film.
Possible titles discussed
-Final infatuation
-Obsession
- Possession
-Inescapable
- No way out
After discussing the titles, we felt that some titles were too similar to existing films: such as Final Infatuation -which we felt was too similar to Final Destination and as a horror film wasn't in keeping with our preferred genre. We found Obsession was already an existing film, with a similar plot line, so we didn't want to use this. Possession had the wrong connotations for our film, associated with exorcisms, soul possession and hauntings.
Eventually we came back to the Final Infatuation idea and felt that Infatuation, by itself was short and snappy enough to be remembered with the audience as well as stay with our theme and plot.
Possible titles discussed
-Final infatuation
-Obsession
- Possession
-Inescapable
- No way out
After discussing the titles, we felt that some titles were too similar to existing films: such as Final Infatuation -which we felt was too similar to Final Destination and as a horror film wasn't in keeping with our preferred genre. We found Obsession was already an existing film, with a similar plot line, so we didn't want to use this. Possession had the wrong connotations for our film, associated with exorcisms, soul possession and hauntings.
Eventually we came back to the Final Infatuation idea and felt that Infatuation, by itself was short and snappy enough to be remembered with the audience as well as stay with our theme and plot.
Character Profiles
Clothing-black jeans,top,hoodie and boots.
We took some practice shots of what will be included in our opening and on the close up of my eyes,due to my make-up,we decided it was too romanticized,so to make it more menacing,i will increase the thickness of my eyebrows and have very dark eyeshadow on my lids,to hopefully increase the intensity.
The iconography and representation of the characters outfits, portrays their personality,role in the film and motives. Flo as the innocent heroine, is shown the light,purer colours of virginity and purity,whereas the my outfit,is black,showing my anti-hero character,evilness and corruption. By having these common themes in the outfits, we are following the horror film rules whilst subtling exploiting the audiences fears.
Monday 7 November 2011
Shots and Techniques
The obsessed trailer has a similar concept to our idea and the music is a good tense piece with a climatic build up,something which we want in our opening. As both our opening and Obsession have a theme of 'obsession and 'stalking',a similar music piece would be essential to our opening.
The shot at 1.15 of the body being dragged away was an inspiration to our opening scene. I believed it would add the necessary eerie factor to end our credits with and the credits could potentially come on the screen as the victim’s lifeless body is dragged away. After a discussion with the group, we decided to use this shot.
The handheld movement of the film is one we want to achieve near the end of our opening; the climatic chase scene,in which only the feet of me and Flo are seen,with me holding the camera.
Music Idea's
Researching into music,we decided that we wanted a piece that matched the tension,atmospheric tone of our opening. Delving into the music used in similar stalker films,we felt strings and piano would create the neccessary effect we desired; the softness and innocence representing Flo,with an off-kilter pitch and a dramatic emphasis to help build up the tension and feeling that something will go wrong. When my character enters the opening,the music should become more menancing,to also help build the picture of the antagonist I am playing. The final moments of the opening,the music would fade out as the scene does.
Monday 10 October 2011
Saul Bass
Link to Hitchcocks Pyscho, 'shower scene':
http://www.youtube.com/watch?v=8VP5jEAP3K4
The opening of Pyscho is full of suspense,the viewer can then tell this film will thrill them.Psycho's opening sequence tells of the impending violence that will come,with the use of the high pitch string orchestra. The high pitch of the music,sets the viewers hairs on end,it makes them feel anxious,tense and terrified for what will happen. The building up of all the instruments builds suspension along withe pace which is quite fast;a victim being chased,a vision of helplessness and eeriness. The dark colours link with the theme of horror and death,along with the graphics,which are distorted. The horizontal lines enter and exit the screen in a stabbing motion,again foreshadowing the violence. The names that appear are scrambled at first,suggesting an unhinged mind and the identities will be jumbled,expect the unexpected.
Introducing the audience to a film, through mis en scene,lighting,sound and setting can often foreshadow events in the film. Theme is also another way to hint to the audience, each genre has conventions and rules to follow, which can also be used as an introduction to content of a film. The build up of instruments creates suspension and added with the black,white and neutral colour theme,adds no clue on which character to suspect of the upcoming violence,this makes the viewer suspcious of every person,until the action happens. However the graphics foreshadowing the violence,tell the audience,this will be a violent,shocking film with plenty of twists.
The opening title sequence,can set the tone for the whole film,a viewer will either be thrilled or bored by the title sequence,it preempts/foreshadows what will happen in the film. Saul Bass said 'making a main title was like making a poster, you're condensing the event into this one concept,this one metaphor;a back story that needs to be to told or a character that needs to be introduced'
SAUL BASS: Further research
http://www.youtube.com/watch?v=8VP5jEAP3K4
The opening of Pyscho is full of suspense,the viewer can then tell this film will thrill them.Psycho's opening sequence tells of the impending violence that will come,with the use of the high pitch string orchestra. The high pitch of the music,sets the viewers hairs on end,it makes them feel anxious,tense and terrified for what will happen. The building up of all the instruments builds suspension along withe pace which is quite fast;a victim being chased,a vision of helplessness and eeriness. The dark colours link with the theme of horror and death,along with the graphics,which are distorted. The horizontal lines enter and exit the screen in a stabbing motion,again foreshadowing the violence. The names that appear are scrambled at first,suggesting an unhinged mind and the identities will be jumbled,expect the unexpected.
Introducing the audience to a film, through mis en scene,lighting,sound and setting can often foreshadow events in the film. Theme is also another way to hint to the audience, each genre has conventions and rules to follow, which can also be used as an introduction to content of a film. The build up of instruments creates suspension and added with the black,white and neutral colour theme,adds no clue on which character to suspect of the upcoming violence,this makes the viewer suspcious of every person,until the action happens. However the graphics foreshadowing the violence,tell the audience,this will be a violent,shocking film with plenty of twists.
The opening title sequence,can set the tone for the whole film,a viewer will either be thrilled or bored by the title sequence,it preempts/foreshadows what will happen in the film. Saul Bass said 'making a main title was like making a poster, you're condensing the event into this one concept,this one metaphor;a back story that needs to be to told or a character that needs to be introduced'
SAUL BASS: Further research
"My initial thoughts about what a title can do was to set mood and the prime underlying core of the film's story, to express the story in some metaphorical way. I saw the title as a way of conditioning the audience, so that when the film actually began, viewers would already have an emotional resonance with it."
Saul Bass was one of the original pioneers to realize a story could be told during the opening and closing credits of a film,using a variety of different techniques such as; animation,live action and type treatments. He believed that the credits were the real beginning of the story,in which the viewer would come to terms with the content of the film,using graphics and music and that the closing credits were a 'semi prologue' in which the story could come to a close in a logical experience.
May 8 1920,New York City,this legend was born and raised. Interested in art from a early age,he attended Brooklyn College,in which came his greatest influence Gyorgy Kepes.Deeply involved in his studies at the Modernist School of Design,the education he received here would be with him for the rest of his life.
In 1954 he received his chance to enhance the film viewers experience,designing and creating a title sequence for Carmen Jones, also creating mini narratives to help introduce the viewer to the film.
As Bass went forward, he proceeded in perfecting these thoughts, creating mini-narratives which would help bring the viewer into the film.
Analysis on Ocean's Eleven: http://www.youtube.com/watch?v=xnG3OjIcN8M&feature=related
The animated text of the opening credits,are on a black background, with , colourful lights, which as the connotations of Las Vegas, the colours are vivid and fun and reminescient of Las Vegas and the glamorous,rich fast paced lifestyle associated with living there.
The lights then transform into numbers,ascending 1-11, which introduces us to part of the film title and again reiterates the gambling,casino lifestyle of Vegas, with the fast pace of the number sequence. The use of this could pontetially introduced us, as opening sequences do, to the main characters, 11 main protagonists, as well as the fast pasted, exciting film.
However not only does the black background make the text more striking and prominent, it also hints at the darker, uglier side, in the glamorous lifestyle; addiction,debts and prostitution.
The lights then again transform into connotations of the Vegas lifestyle, with decking cards and fruit machines used in the prominent gambling scene in Vegas. This again acquaints the audience with potential events,settings and action that will take place in the film.
The use of the 'male,female' animation, in the fruit machine, tells the audience, there will be a romance in the story and as its shown in a fruit machine, it will be a gamble,lottery and risk. The use of this, would make the audience,more females potentially empathise more with the female character, as they could of potentially been her in position. However the sinister, angry look on the males face, will make the audience fearful for what he could do to his lover and intrigued about why he is feeling like this. As the characters disrupted a potential winning streak, it could be foreshadowing that the couple involved, will lose, whatever they have been trying to strive for.
As Bass went forward, he proceeded in perfecting these thoughts, creating mini-narratives which would help bring the viewer into the film.
Writer Ken Coupland feels that in this respect, Bass is something of a magician:Some of Bass's early title work is very 'graphic design-centric' but as he went on, he moved away from that center, using a number of mediums, particularly animation. His work on two pictures in particular shows his knowledge and understanding of animation including it's effects and influences on it's audience and it's surroundings (here the feature that followed/proceeded it).
"I believe that a great title sequence almost literally hypnotizes
you, especially the work of Saul Bass where there's a very strong
repetitive swirling motion and abstract things that happen that's
putting you into a dream-like state."
Analysis on Ocean's Eleven: http://www.youtube.com/watch?v=xnG3OjIcN8M&feature=related
The animated text of the opening credits,are on a black background, with , colourful lights, which as the connotations of Las Vegas, the colours are vivid and fun and reminescient of Las Vegas and the glamorous,rich fast paced lifestyle associated with living there.
The lights then transform into numbers,ascending 1-11, which introduces us to part of the film title and again reiterates the gambling,casino lifestyle of Vegas, with the fast pace of the number sequence. The use of this could pontetially introduced us, as opening sequences do, to the main characters, 11 main protagonists, as well as the fast pasted, exciting film.
However not only does the black background make the text more striking and prominent, it also hints at the darker, uglier side, in the glamorous lifestyle; addiction,debts and prostitution.
The lights then again transform into connotations of the Vegas lifestyle, with decking cards and fruit machines used in the prominent gambling scene in Vegas. This again acquaints the audience with potential events,settings and action that will take place in the film.
The use of the 'male,female' animation, in the fruit machine, tells the audience, there will be a romance in the story and as its shown in a fruit machine, it will be a gamble,lottery and risk. The use of this, would make the audience,more females potentially empathise more with the female character, as they could of potentially been her in position. However the sinister, angry look on the males face, will make the audience fearful for what he could do to his lover and intrigued about why he is feeling like this. As the characters disrupted a potential winning streak, it could be foreshadowing that the couple involved, will lose, whatever they have been trying to strive for.
Editing Techniques
Cutaway/Cross Cut-used to establish action in two different scenes,happening at the same time.The camera will cut from one piece of action to another. Suspense may be added by cross-cutting. It is built through the expectations that it creates and in the hopes that it will be explained with time. Cross-cutting also forms parallels; it illustrates a narrative action that happens in several places at approximately the same time.
Jump Cut-contrast is used for strong emotional effect, and frequently at the climax of a film. The rhythm of, or length of time between, cross-cuts can also set the rhythm of a scene.
Transition-The process or a period of changing from one state or condition to another. To move from scene /setting to another.
Continuity Editing- a method of editingin which they have to smooth over discontinuity and emphasis smooth transition of time and space to show a logical sequence.
Link:http://www.youtube.com/watch?v=RZ7ZaS-IH14&feature=related
Showing different editing echnique examples, in films by Martin Scorsese
Jump Cut-contrast is used for strong emotional effect, and frequently at the climax of a film. The rhythm of, or length of time between, cross-cuts can also set the rhythm of a scene.
Transition-The process or a period of changing from one state or condition to another. To move from scene /setting to another.
Continuity Editing- a method of editingin which they have to smooth over discontinuity and emphasis smooth transition of time and space to show a logical sequence.
Link:http://www.youtube.com/watch?v=RZ7ZaS-IH14&feature=related
Showing different editing echnique examples, in films by Martin Scorsese
Wednesday 5 October 2011
Evaluation of Preliminary Task
What worked well and why?
The range of shots we included in our footage,worked well,it added the necessary emotions and background needed.
The task was to include; a shot/reserve shot,the 180 degree rule and a match on action shot,all of which we done,due to our continuity editing our final sequence managed to flow relatively well,with all the necessary rules observed,such as the 180 degree rule,in which the line was not crossed,so the viewer would not be disorientated.
What problems did you encounter?
I would make sure we filmed in an empty classroom/setting,as filming the task we had to reshoot,as many people kept interrupting the sequence.
I would also make sure we planned the task more efficiently as due to poor time management and interruptions we had to change shots from the storyboard.
Due to disturbances the continuity of our film wasn't as smooth as it could of been and we had to add many cuts and transitions,making the film a lot more amateur and jerky. However the use of the 180 degree amends that and creates a continued effect and the continuity editing also helped the transitions flow; we had to merge two different clips that were of similar filming positions etc and this also bought down the smoothness of our sequence.
What do you need to improve on for your main coursework piece?
To improve for the coursework, i would make sure the planning was efficient and the whole group stuck to the storyboard, as close as possible in order to improve our efficiency and not effect our time management due to slackness and always have the storyboard present to make sure we are following the exact schedule.
The filming would take place in a less busy area,where only the necessary people included in filming would be,increasing our productivity time and efficiency.
The range of shots we included in our footage,worked well,it added the necessary emotions and background needed.
The task was to include; a shot/reserve shot,the 180 degree rule and a match on action shot,all of which we done,due to our continuity editing our final sequence managed to flow relatively well,with all the necessary rules observed,such as the 180 degree rule,in which the line was not crossed,so the viewer would not be disorientated.
What problems did you encounter?
I would make sure we filmed in an empty classroom/setting,as filming the task we had to reshoot,as many people kept interrupting the sequence.
I would also make sure we planned the task more efficiently as due to poor time management and interruptions we had to change shots from the storyboard.
Due to disturbances the continuity of our film wasn't as smooth as it could of been and we had to add many cuts and transitions,making the film a lot more amateur and jerky. However the use of the 180 degree amends that and creates a continued effect and the continuity editing also helped the transitions flow; we had to merge two different clips that were of similar filming positions etc and this also bought down the smoothness of our sequence.
What do you need to improve on for your main coursework piece?
To improve for the coursework, i would make sure the planning was efficient and the whole group stuck to the storyboard, as close as possible in order to improve our efficiency and not effect our time management due to slackness and always have the storyboard present to make sure we are following the exact schedule.
The filming would take place in a less busy area,where only the necessary people included in filming would be,increasing our productivity time and efficiency.
Tuesday 27 September 2011
Match On Action
Match On Action
a technique used in film editing of cuts that connnects different views of the same action.
-Pacing is correct and matches entire sequence
-adhere to the 180degree rule
-ensure characters/objects are positioned the same throughout
-Eyelines need to match
-Continuity; surroundings,costume,etc.
Shot/Reserve Shot-film technique,where one character is shown looking at another character(who is often off screen) then the other character is shown looking back at the first. Since the charactera are shown facing opposite directions,the viwer assumes they are looking at each other.
a technique used in film editing of cuts that connnects different views of the same action.
-Pacing is correct and matches entire sequence
-adhere to the 180degree rule
-ensure characters/objects are positioned the same throughout
-Eyelines need to match
-Continuity; surroundings,costume,etc.
Shot/Reserve Shot-film technique,where one character is shown looking at another character(who is often off screen) then the other character is shown looking back at the first. Since the charactera are shown facing opposite directions,the viwer assumes they are looking at each other.
180 Degree Rule
The 180 degree rule,establishes the scene. There is a line that the camera doesnt cross,as it will disorientate the viewer. If you do,you have to show the camera crossing the subjects head,to show the viewer they are switching swides.
To assure continuity, once a camera position is established via the axis of action, the camera must stay on that side of the line.
To assure continuity, once a camera position is established via the axis of action, the camera must stay on that side of the line.
Wednesday 21 September 2011
Camera Angles
High angle shot-When the camera is located above the eyeline. The camera looks down on the subject and the point of focus often gets swallowed up by the setting. High shots are used to make the figure seem vulnerable or powerless.
Low Angle Shot- a shot from a camera positioned low on the vertical ais,anywhere below the eyeline,looking yup. It makes the subject seem powerful or dominant.
Titled Angle- camera angle that looks up/down at the objects being shot. Usually more dramatic,a downward titl is used to observe action over a large area or where the camera is tilted to one side,so the horizon is on an angle.The tilt is used to create a interesting or dramatic shot. It can also be used to to add tension to the frame and create a sinister or distorted view of a character.
Low Angle Shot- a shot from a camera positioned low on the vertical ais,anywhere below the eyeline,looking yup. It makes the subject seem powerful or dominant.
Titled Angle- camera angle that looks up/down at the objects being shot. Usually more dramatic,a downward titl is used to observe action over a large area or where the camera is tilted to one side,so the horizon is on an angle.The tilt is used to create a interesting or dramatic shot. It can also be used to to add tension to the frame and create a sinister or distorted view of a character.
Tuesday 20 September 2011
Camera Movements
The height of the camera position dictates the view-perhaps of a character looking at something/one. It also provides the viewpoint of the audience on the action.
The convention is that the height of the camera will correspond to the 'eye-line' of characters on screen(top third). Cutting from one character to another will usually require an 'eye-line match'. The camera can move up or down as characters rise and sink to their knees.
Tilt- a movement of the camera where it tilts up and down from a fixed point. Can give the impression of looking up and down.
Pan-a common movement when the camera swivels on its axis to describe an arc which displays a panoramic view. the arc is no more than 270 degrees as a full pan is often disorientating.
Tracking- move in towards the subject OR track alongside a moving subject OR arc around the subject.
The convention is that the height of the camera will correspond to the 'eye-line' of characters on screen(top third). Cutting from one character to another will usually require an 'eye-line match'. The camera can move up or down as characters rise and sink to their knees.
Tilt- a movement of the camera where it tilts up and down from a fixed point. Can give the impression of looking up and down.
Pan-a common movement when the camera swivels on its axis to describe an arc which displays a panoramic view. the arc is no more than 270 degrees as a full pan is often disorientating.
Tracking- move in towards the subject OR track alongside a moving subject OR arc around the subject.
Monday 12 September 2011
Research: Camera Shots
Over the Shoulder (OSS)Shot over the shoulder of usually the Narrator,to see things from their 'point of view' 
Point Of View (POV) Shot from the Narrators eyes,seeing what they see,doing what they do and feeling the emotions they feel e.g The Blair Witch.
Long Shot-Shot which shows all or most of a fairly large subject (for example, a person) and usually much of the surroundings'/www.aber.ac.uk/media/Documents/short/gramtv.html
Extreme Close up- used to give emphasis and for the viewer to take note.
Close up- Usually of a persons face/important object/object involving protagonist,to emphasis their feelings and actions/thoughts e.g Kill Bill. Often used to introduce a lead character,zooming in on them closely to accentuate their importance.
Mid Shot- halfway between ecu and ls,usually a person from the waist up. They are used to show more of the person/object in detail whilst giving the audience the impression they were conversing with them. Also used in news reports.
Wide Shot- The object takes up as much as the frame as possible.'In this case, the boy's feet are almost at the bottom of frame and his head is almost at the top. Obviously the subject doesn't take up the whole width and height of the frame, since this is as close as we can get without losing any part of him. The small amount of room above and below the subject can be thought of as safety room — you don't want to be cutting the top of the head off. It would also look uncomfortable if his feet and head were exactly at the top and bottom of frame.' http://www.mediacollege.com/video/shots/wide-shot.html
Establishing Shot- Is to introduce the viewer to where the first sequence of action/importance is,usually where the character lives e.g Harry Potter and the first two films,Privet Drive and Hogwarts.To set the scene and place for the audience.
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