Friday, 17 December 2010
Thursday, 16 December 2010
Pitch
In todays lesson we pitched our idea for out film and title sequence, explaining the characters, the setting and the story line. We used our pitch and treatment to help explain everything that we are going to be doing and the reasons behind our story line.
Shooting Script
"A shooting script is the version of a screenplay used during the production of a motion picture. Shooting scripts are distinct from spec scripts in that they make use of scene numbers (along with certain other formatting conventions described below), and they follow a well defined set of procedures specifying how script revisions should be implemented and circulated."
(http://en.wikipedia.org/wiki/Shooting_script)
(http://en.wikipedia.org/wiki/Shooting_script)
Ideas for title sequence
Genre - suspense/ Horror
Music- Hans Zimmer/Daniel Lincht
Setting - House and Woods
Producing Industry -Lionsgate
Typography - Edgy (Dafont)
Dull contrast of dull washed out colours
Eeire/Jumpy rather than gory Cinematography like Paranormal Activity
Produced by Jerry Brickheimer
Wednesday, 15 December 2010
Mise - en - scene
"Mise-en-scène is what we see in a film; editing is what we do not. These are simplified definitions, but they emphasize two essential things: the basic building blocks of a film—the shot and the cut—and the complexities of each that allow a film to achieve its texture and resonance. Mise-en-scène concerns the shot, though we need to keep in the back of our minds that editing—putting two shots together—affects not only how a film's narrative is structured but how the shots are subsequently understood by viewers."
Mise - en - scene is french for "placing on stage" or in media and film terms, "Everything in the frame" which is basically everything that appears before the camera in every shot.
The term was brought into film by a group of French film critics in the 1950s, many of whom would become directors and constitute the French New Wave in the 1960s.
The mise - en - scene is made by the construction of shots and the ways in which they reach the audience from shot to shot; this will include all of the elements in front of the camera which compose the shot - lighting, the placement of the characters which are in the scene, the design elements within the shot ( for example props ), comosition of the shot as a whole - how it is framed and what is in the frame. Even music can be counted as part of the mise - en - scene, even though it is not seen, music can enhance the visuals and the narrative of the shot.
Without the audience knowing, the mise - en - scene is very important in the title sequence of a film, as the audience will want to see the main charactor(s) within the first few minuets as well as the main location in which the film is set so that they are aware in what is going on, take Saw for example, in the first film within the first few seconds we knew exactly who the main characters were and the location, as well as some of the plot with out knowing too much too early; the main charactors being the victim(s), the "game master" and the location in which the "game" is set, this could be anything from a basement to an old lock up. Even though the audience will not know why the victim is in the place they are, this will be found out later on in the film when it plays out.
Mise - en - scene is french for "placing on stage" or in media and film terms, "Everything in the frame" which is basically everything that appears before the camera in every shot.
The term was brought into film by a group of French film critics in the 1950s, many of whom would become directors and constitute the French New Wave in the 1960s.
The mise - en - scene is made by the construction of shots and the ways in which they reach the audience from shot to shot; this will include all of the elements in front of the camera which compose the shot - lighting, the placement of the characters which are in the scene, the design elements within the shot ( for example props ), comosition of the shot as a whole - how it is framed and what is in the frame. Even music can be counted as part of the mise - en - scene, even though it is not seen, music can enhance the visuals and the narrative of the shot.
Without the audience knowing, the mise - en - scene is very important in the title sequence of a film, as the audience will want to see the main charactor(s) within the first few minuets as well as the main location in which the film is set so that they are aware in what is going on, take Saw for example, in the first film within the first few seconds we knew exactly who the main characters were and the location, as well as some of the plot with out knowing too much too early; the main charactors being the victim(s), the "game master" and the location in which the "game" is set, this could be anything from a basement to an old lock up. Even though the audience will not know why the victim is in the place they are, this will be found out later on in the film when it plays out.
Romantic Comedy
"Romantic Comedy films are light-hearted and humerouse, centering on romantic ideals such as a true love able to surmount most obstables" Romanic Comedy films are a sub-genre of a Comedy film, as well as Romance films, which often also have some elements of screwball comedies and stoner comedies; Screwball comedies being a type of conedy that was popular in the 1930s, chacterised by frantic action, verble wit, characters being in bizarre predicaments, and using "slapstick humor". An example of films from this genre being "Bringing Up Baby" and its loose remake, "Whats UP, Doc?" Stoner Comedies or Stoner filmers revolve around the use of marijuana, showing cannabis use in a comic and positive fashion, as well as cannabis being used as one of the main theams and inspiering most of the plot. The historic film "Reefer madness" is now classed as a Stoner Comedy, but some more recent example being films such as "The Pineapple Express", "Harold & Kumar Escape from Guantanamo Bay" and "The Simpsons Weekend at Burnsie's" Romantic Comedies involve dramatic story lines about romance with the light humours touch, the dramatic romantic issues that are brought up in a Romantic Comedy are those such as, true love does exist, there is someone out there just for us, and id we could only find them, we would experiance true love and that romance can overcome all obstacles. as well as this a Romantic comedy offers the audiance an experiance of shared itimacy within couples; be them married, dating, young or old, and seeing this is fulfinging and pleasurable.
The most common story line for a "Rom Com" is that, two protagonists, usually these being one male and one female, meet, then part ways due to some kind of obstacle and then they are reunited. The male and female could be hesitant to become romantically involved, this being one of the most common obsticles in a romantic comedy, they do not want to belive that they have feelings for each other, sometimes this could be that one of them already has a partner, but the screenwriterswill leave clues to suggest to the audiance that there will be a happy ending sfter all the obstacles have been overcome. "Rom Coms" can appeal to both men and women, and this is done by combining both the use of a romatic comedy and stoner comedys, a brilliant exmaple of this is the film "Knocked Up", films such as these, more often then not, will use sexual content to bring the two main charaters together, another film which does this is "American Pie".
The most common story line for a "Rom Com" is that, two protagonists, usually these being one male and one female, meet, then part ways due to some kind of obstacle and then they are reunited. The male and female could be hesitant to become romantically involved, this being one of the most common obsticles in a romantic comedy, they do not want to belive that they have feelings for each other, sometimes this could be that one of them already has a partner, but the screenwriterswill leave clues to suggest to the audiance that there will be a happy ending sfter all the obstacles have been overcome. "Rom Coms" can appeal to both men and women, and this is done by combining both the use of a romatic comedy and stoner comedys, a brilliant exmaple of this is the film "Knocked Up", films such as these, more often then not, will use sexual content to bring the two main charaters together, another film which does this is "American Pie".
Saul Bass
Saul Bass was born in May 8, 1920, in New York City. He studied at the Art Students League in Manhattan until attending classes with Gyorgy Kepes at Brooklyn College. He began his time in Hollywood doing print work for film ads, until he collaborated with filmmaker Otto Preminger to design the film poster for his 1954 film Carmen Jones. Preminger was so impressed with Bass’s work that he asked him to produce the title sequence as well. This was when Bass first saw the opportunity to create something more than a title sequence, but to create something which would ultimately enhance the experience of the audience and contribute to the mood and the theme of the movie within the opening moments. Bass was one of the first to realize the creative potential of the opening and closing credits of a movie.
Juno Title Sequence
The open titles for Reitman's critically acclaimed indie-comedy film, Juno, where hand craften by Shadowplay Studio.
As the title sequence starts we hear the music, "All I want is you to be my sweet honny bee, and if I was a tree growing tall and green, all Id want is for you to shave me and be my leaves", the lyrics in the song already suggest to the audiance (for exmaple myself) that the film is going
to have a romantic touch to it, maybe with some problems along the way. We see Juno walking down, what looks like, to be a subberban street holding a large bottle of "Sunny D" in her hands, and then she walks through a group of boys running down the road in some sort of uniform. You
would think that being a film aimed at teenages it would be bright and colourful out, almost as if the titles had be edited to be perficly coloured,and bright and happy, but in Juno, you can tell that is is a sunny day out but its still dark in the back ground, which does not suggest that she is a good mood as she bowls down the road.
Juno, and the street that she is walking down then all turns into cartoon images, these again not being very bright, all dark and nutral colours, very monotone, and the only thing with shadding in the title sequence, is Juno. The intremental for the playing again in the background. Next Juno
is standing at a cross road, with foreshaddows that there will be a dissions that she will have to make, she takes a mouthful of the "Sunny D" that she is holding in her hands and then we see her fidgiting feet, which could be portrating that she is nurvouse about something or thinking.
Behind the feet we see a pair of legs, exactly the same as the ones which are Juno's, walking down the road, we then see her from the waist down
swinging the "Sunny D" bottle by her side. Next we see Juno again, bowling down a road, Juno being the only part of the shot which does not look like it has been drawn, there is still an element of realism in her, like she is a photograph on a drawn background. The lyrics to the song which we first heard in the beging start playing again, suggesting that there may be a relationship with her and a boy, and they are "in love" and "JUNO" is flashing beside her in hand drawn black letters. The camera then moves upwards to see the top of a telegraph pole and small hand drawn birds flying in the dull bluey gray, cloudless sky.
We then see a closs of shot of Juno's gray face smiling, and then to a close up of her legs and feet walking down an outline of a white chair and acustic guitar, this again foreshaddowing that they both play a large part in the upcoming film, with her "Sunny D" bottle still swinging at her side.
Then we just see Juno walking down a road past houses, then turning down another road to walk past some shops, the scenery still being very dull, not much colour to anything, everything is the same, as if the writer of "Juno" is telling the audiance that life is boring, or that what ever in the background is boring, you have to make your life colourful and exiting yourself. Then as Juno is walking past a shop, its outlining starts to dissapear, as if it is deteriarating, foreshaddowing that something bad is going to happen and that everything will then "fall apart".
When Juno leaves the shot there is nothing left of the shop that she has just walked past, apart from the dull coffe colour and a few lines. We then see Juno standing infront of this, waiting to cross the road, and then behind her another shop is draw on to where the other one was, as if it is portraying that even though sometimes is may seem like everything is gone and the world is about to end, you can build your life back up and everything will be okay in the end. Juno moves closer in to the shot, then all we see is a close up of her hand unscrewing her "Sunny D" bottle, and then close up of her drinking it as she walks, but all we can see behind her is the dull colour of the sky, the only colour in the shot is coming from her red jumper. Next there is a birdseye few of Juno walking down a beige pavement, and the dull colour of the sky/background surrounding that pavement, she then looks up at the camera and has a smerk on her face.
She walk out the shot and then into another one where she is walking along a park, the only colour being her, the dark green of the grass and then we see the boys in their running outfits funny along the grass, infront of the outline of white drawn trees. The shot changes to see her walking down the road from behind, and the boys running past her again, this tells us that one, of not more, of these boys plays a main part in the film.
For the next few shots they are the same as the first, Juno is walking down a very bland road, we switch from seeing her from behind, to her feet, to her
side, and then a close up of her face with a smirk on it, then back to seeing her walking down a road where all we can see is the out line of a boy on a skate board, a few trees and a shop, it all being the same coffee colour brown - the shot then changes to gradually being back to normal, but the last thing to change from being drawn into the film is Juno, we see a young boy and girl standing outside this shop and Juno walks in, still with her overly large "Sunny D" in her hand.
As the title sequence starts we hear the music, "All I want is you to be my sweet honny bee, and if I was a tree growing tall and green, all Id want is for you to shave me and be my leaves", the lyrics in the song already suggest to the audiance (for exmaple myself) that the film is going
to have a romantic touch to it, maybe with some problems along the way. We see Juno walking down, what looks like, to be a subberban street holding a large bottle of "Sunny D" in her hands, and then she walks through a group of boys running down the road in some sort of uniform. You
would think that being a film aimed at teenages it would be bright and colourful out, almost as if the titles had be edited to be perficly coloured,and bright and happy, but in Juno, you can tell that is is a sunny day out but its still dark in the back ground, which does not suggest that she is a good mood as she bowls down the road.
Juno, and the street that she is walking down then all turns into cartoon images, these again not being very bright, all dark and nutral colours, very monotone, and the only thing with shadding in the title sequence, is Juno. The intremental for the playing again in the background. Next Juno
is standing at a cross road, with foreshaddows that there will be a dissions that she will have to make, she takes a mouthful of the "Sunny D" that she is holding in her hands and then we see her fidgiting feet, which could be portrating that she is nurvouse about something or thinking.
Behind the feet we see a pair of legs, exactly the same as the ones which are Juno's, walking down the road, we then see her from the waist down
swinging the "Sunny D" bottle by her side. Next we see Juno again, bowling down a road, Juno being the only part of the shot which does not look like it has been drawn, there is still an element of realism in her, like she is a photograph on a drawn background. The lyrics to the song which we first heard in the beging start playing again, suggesting that there may be a relationship with her and a boy, and they are "in love" and "JUNO" is flashing beside her in hand drawn black letters. The camera then moves upwards to see the top of a telegraph pole and small hand drawn birds flying in the dull bluey gray, cloudless sky.
We then see a closs of shot of Juno's gray face smiling, and then to a close up of her legs and feet walking down an outline of a white chair and acustic guitar, this again foreshaddowing that they both play a large part in the upcoming film, with her "Sunny D" bottle still swinging at her side.
Then we just see Juno walking down a road past houses, then turning down another road to walk past some shops, the scenery still being very dull, not much colour to anything, everything is the same, as if the writer of "Juno" is telling the audiance that life is boring, or that what ever in the background is boring, you have to make your life colourful and exiting yourself. Then as Juno is walking past a shop, its outlining starts to dissapear, as if it is deteriarating, foreshaddowing that something bad is going to happen and that everything will then "fall apart".
When Juno leaves the shot there is nothing left of the shop that she has just walked past, apart from the dull coffe colour and a few lines. We then see Juno standing infront of this, waiting to cross the road, and then behind her another shop is draw on to where the other one was, as if it is portraying that even though sometimes is may seem like everything is gone and the world is about to end, you can build your life back up and everything will be okay in the end. Juno moves closer in to the shot, then all we see is a close up of her hand unscrewing her "Sunny D" bottle, and then close up of her drinking it as she walks, but all we can see behind her is the dull colour of the sky, the only colour in the shot is coming from her red jumper. Next there is a birdseye few of Juno walking down a beige pavement, and the dull colour of the sky/background surrounding that pavement, she then looks up at the camera and has a smerk on her face.
She walk out the shot and then into another one where she is walking along a park, the only colour being her, the dark green of the grass and then we see the boys in their running outfits funny along the grass, infront of the outline of white drawn trees. The shot changes to see her walking down the road from behind, and the boys running past her again, this tells us that one, of not more, of these boys plays a main part in the film.
For the next few shots they are the same as the first, Juno is walking down a very bland road, we switch from seeing her from behind, to her feet, to her
side, and then a close up of her face with a smirk on it, then back to seeing her walking down a road where all we can see is the out line of a boy on a skate board, a few trees and a shop, it all being the same coffee colour brown - the shot then changes to gradually being back to normal, but the last thing to change from being drawn into the film is Juno, we see a young boy and girl standing outside this shop and Juno walks in, still with her overly large "Sunny D" in her hand.
Monday, 13 December 2010
Codes Conventions and Purpose of a Title Sequence
The basic purpose of a title sequence is draw the audience into the film, but without giving too much away. When you watch the first three minuets of a film you do not want to know everything that is going to happen in the film.
Codes are systems of signs, which create meaning. Codes can be divided into two categories – technical and symbolic:
Technical codes are all the ways in which equipment is used to tell the story in a media text, for example the camera work in a film.
Symbolic codes show what is beneath the surface of what we see. For example, a character's actions show you how the character is feeling.
Some codes fit both categories – music for example, is both technical and symbolic.
Conventions are the generally accepted ways of doing something. There are general conventions in any medium, such as the use of interviewee quotes in a print article, but conventions are also genre specific.
Codes are systems of signs, which create meaning. Codes can be divided into two categories – technical and symbolic:
Technical codes are all the ways in which equipment is used to tell the story in a media text, for example the camera work in a film.
Symbolic codes show what is beneath the surface of what we see. For example, a character's actions show you how the character is feeling.
Some codes fit both categories – music for example, is both technical and symbolic.
Conventions are the generally accepted ways of doing something. There are general conventions in any medium, such as the use of interviewee quotes in a print article, but conventions are also genre specific.
Thriller Genre
The Thriller genre consists of a movie that is known to be set in a holly setting, or exotic settings for example; foriegn cities, gigh seas. Thrillers also usually end up, with what you might call a 'hero' that sorts the situation out.
Thrillers usually reflect a mystery story. Or the hero will find a plan to stop the situation from continuing.
Wikipedia.
In recent years, when thrillers have been increasingly influenced by horror or psychological-horror exposure in pop culture, an ominous or monstrous element has become common to heighten tension. The monster could be anything, even an inferior physical force made superior only by their intellect, a supernatural entity, aliens, serial killers, or even microbes or chemical agents. Some authors have made their mark by incorporating all of these elements (Richard Laymon, F. Paul Wilson) throughout their bodies of work.
Friday, 10 December 2010
Production Company
"A production company is a company responsible for physical production of new media, performing arts, film, radio or a television program. The company may also be directly responsible for the raising of funding for the production or may accomplish this through an intermediary. The production company may be a small company, selling its product to a film studioor presenting it at a theatrical venue, or, in the case of film and television, it may be the studio itself."
Hammer Film Productions
Hammer Film Productions is a film production company based in the United Kingdom. Founded in 1934, the company is best known for a series of Gothic "Hammer Horror" films made from the mid-1950s until the 1970s. Hammer also produced science fiction, thrillers, Film Noir and comedies – and in later years, television series. Hammer films had low budgets, but nonetheless appeared lavish, making use of quality British actors and cleverly designed sets. During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. This success was due, in part, to distribution partnerships with major United States studios, such as Warner Bros.
During the late 1960s and 1970s the saturation of the horror film market by competitors and the loss of American funding forced changes to the previously lucrative Hammer-formula, with varying degrees of success. The company eventually ceased production in the mid-1980s and has since then been, in effect, in hibernation. In 2000, the studio was bought by a consortium including advertising executive and art collector Charles Saatchi. The company announced plans to begin making films again after this, but none were produced. In May 2007, the company behind the movies was sold again, this time to a group headed by Big Brother backers, the Dutch consortium Cyrte Investments, who have announced plans to spend some $50m (£25m) on new horror films. The new owners have also acquired the Hammer group's film library.
Paramount Pictures
Paramount Pictures Corporation is a global producer and distributor of filmed entertainment, with robust and multi-faceted divisions across all areas including digital, home entertainment, network and cable television distribution, studio operations, and consumer products and recreation. A unit of the leading global entertainment content company, Viacom, Paramount is part of a family of prominent and respected brands including MTV Networks and BET Networks.
Paramount consists of several film labels including, the legendary Paramount Pictures; leading youth brand, MTV Films; the preeminent family entertainment label, Nickelodeon Movies; and specialty film labels, Paramount Vantage and Paramount Classics. In addition, the Studio will continue to release a number of films under the DW label. Paramount also has established distribution deals with iconic comic book creator, Marvel Entertainment and renowned animated film producer, DreamWorks Animation.
The Company’s global business operations include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group and Worldwide Television Distribution.
Hammer Film Productions
Hammer Film Productions is a film production company based in the United Kingdom. Founded in 1934, the company is best known for a series of Gothic "Hammer Horror" films made from the mid-1950s until the 1970s. Hammer also produced science fiction, thrillers, Film Noir and comedies – and in later years, television series. Hammer films had low budgets, but nonetheless appeared lavish, making use of quality British actors and cleverly designed sets. During its most successful years, Hammer dominated the horror film market, enjoying worldwide distribution and considerable financial success. This success was due, in part, to distribution partnerships with major United States studios, such as Warner Bros.
During the late 1960s and 1970s the saturation of the horror film market by competitors and the loss of American funding forced changes to the previously lucrative Hammer-formula, with varying degrees of success. The company eventually ceased production in the mid-1980s and has since then been, in effect, in hibernation. In 2000, the studio was bought by a consortium including advertising executive and art collector Charles Saatchi. The company announced plans to begin making films again after this, but none were produced. In May 2007, the company behind the movies was sold again, this time to a group headed by Big Brother backers, the Dutch consortium Cyrte Investments, who have announced plans to spend some $50m (£25m) on new horror films. The new owners have also acquired the Hammer group's film library.
Paramount Pictures
Paramount Pictures Corporation is a global producer and distributor of filmed entertainment, with robust and multi-faceted divisions across all areas including digital, home entertainment, network and cable television distribution, studio operations, and consumer products and recreation. A unit of the leading global entertainment content company, Viacom, Paramount is part of a family of prominent and respected brands including MTV Networks and BET Networks.
Paramount consists of several film labels including, the legendary Paramount Pictures; leading youth brand, MTV Films; the preeminent family entertainment label, Nickelodeon Movies; and specialty film labels, Paramount Vantage and Paramount Classics. In addition, the Studio will continue to release a number of films under the DW label. Paramount also has established distribution deals with iconic comic book creator, Marvel Entertainment and renowned animated film producer, DreamWorks Animation.
The Company’s global business operations include Paramount Digital Entertainment, Paramount Famous Productions, Paramount Home Entertainment, Paramount Pictures International, Paramount Licensing Inc., Paramount Studio Group and Worldwide Television Distribution.
Monday, 22 November 2010
Title Sequence Planning
Horror
Music: Hams-zimmer
Daniel Lynch
Typography: dafont
Time: Present Day
Dull Contrast
Directors and Producers - Steven King, Kyle Cooper.
research: Hostel, Paranormal Activity, Psycho, Poltergeist, Se7en, Steven King Films, Texas Chainsaw Mascara , orphanage.
Kyle Cooper
Kyle Cooper is the most successful modern designer of motion picture title sequences. He was born in Swampscott, Massachusetts and holds a M.F.A. in Graphic Design from Yale University School of Design and a B.F.A. in Interior Architecture from University of Massachusetts at Amherst. His greatest influence is designer Paul Rand who he studied with at Yale. He specialized in crafting title sequences - the short introductions and closings to films, videogames, and television shows that list the names of the cast and crew involved in the production. He has designed the lead-ins to 150 features including the opening credit sequences of Seven filmed in 1995, Arlington Road filmed in 1999, The Island of Dr. Moreauv filmed in 1996, Flubber filmed in 1997, The Mummey filmed in 1999, Zoolander filmed in 2001, Spider-Man filmed 2002, Dawn of the Dead filmed in 2004, Spider-Man 2 (2004), Godzilla: Final Wars (2004), Superman Returns (2006), Across the Universe (2007), The Incredible Hulk (2008), Tropic Thunder (2008); and the video games Metal Gear Soli 2: Sons of Liberty (2001) and Metal Gear Solid 3: Snake Eater (2004). He has also directed live action for television commercials, and he has created film content for the motion picture "Titus Andronicus."
Horror Genre
Horror films are movies thatt strive to elicit the emotions of fear, horror and terror from the viewers" Horror film plots frequently involve themes such as death, the supernatural and/or metal illness, many also have a central villain. Early horror films are based on the classic literature of gothic horror, there are many films that have portrade this, such as "Dracula", "Frankenstien", "The Phantom of the Opera" and "Dr. Jekyll and Mr. Hyde".
But in contrast to this more recent horror filmsdraw insperation from the insecurites of life after World War II, there are three distinct sub-genres to this and they are; the horror of personality, an example of this is the film "Psycho", the horror of armageddon (armageddon being any catastrofically distructive battle, and/or the end of the world), an exmaple of a film where armageddon is being used is "Invasion of the Body Snatchers" and the last of the sub-genre's being the horror of the demonic, the best example of this would be the film "The Exorcist" which was bannedin 1986 under the Video recordings Act becuase it was said to be too scary for home viewing, especially because of the fact that it can be a very trying experience for young girls. The original teaser trailer, which consisted of nothing but images of a white faced demonquickly flashing in and out of darkness, was banned in many theaters as it was deemed to be "too frightening". As well as this, The Government Censorship Board today has banned the American film "The Exorcist" on the grounds that it presents "unjustifed" propaganda (propaganda meaning information that is spread for the purpose of promoting some cause) in favour of the Christan comunity.
Horror is also an accient art form, as we have tried to terrify each other with tales which trigger the less logical parts of our imaginations for as long as we've told stories; from the ballads of the ancient world to the modern urban myths. Audiences will willingly offer themselvs up to sadistic storytellersto be scared witless, as well as being happy to pay for the privilege. There are many theories as to why this is so; from deriving the basic thrills from triggering the rush of adrenalion which fear brings, or because horror stories serve more of a moral purose, reinforcing the rules and the taboos of our society and showing the macabre fate of those who transgress? Horror movies have long served both these prepossess, delivering thrills by the hearseload, as well as telling stories of the dark, forbidden side of both life and death, and also providing a revaling morror image of the anxieties of the time in which the film was made, offering heart-rending images and echoeing great wars and epidemic fatalities. As well as reflecting the fear of the powerfil yet irresponsible elements of society, the seemingly impinitive behaviour of those people at the top and what lurks behind corners and in dark shadows.
But in contrast to this more recent horror filmsdraw insperation from the insecurites of life after World War II, there are three distinct sub-genres to this and they are; the horror of personality, an example of this is the film "Psycho", the horror of armageddon (armageddon being any catastrofically distructive battle, and/or the end of the world), an exmaple of a film where armageddon is being used is "Invasion of the Body Snatchers" and the last of the sub-genre's being the horror of the demonic, the best example of this would be the film "The Exorcist" which was bannedin 1986 under the Video recordings Act becuase it was said to be too scary for home viewing, especially because of the fact that it can be a very trying experience for young girls. The original teaser trailer, which consisted of nothing but images of a white faced demonquickly flashing in and out of darkness, was banned in many theaters as it was deemed to be "too frightening". As well as this, The Government Censorship Board today has banned the American film "The Exorcist" on the grounds that it presents "unjustifed" propaganda (propaganda meaning information that is spread for the purpose of promoting some cause) in favour of the Christan comunity.
Horror is also an accient art form, as we have tried to terrify each other with tales which trigger the less logical parts of our imaginations for as long as we've told stories; from the ballads of the ancient world to the modern urban myths. Audiences will willingly offer themselvs up to sadistic storytellersto be scared witless, as well as being happy to pay for the privilege. There are many theories as to why this is so; from deriving the basic thrills from triggering the rush of adrenalion which fear brings, or because horror stories serve more of a moral purose, reinforcing the rules and the taboos of our society and showing the macabre fate of those who transgress? Horror movies have long served both these prepossess, delivering thrills by the hearseload, as well as telling stories of the dark, forbidden side of both life and death, and also providing a revaling morror image of the anxieties of the time in which the film was made, offering heart-rending images and echoeing great wars and epidemic fatalities. As well as reflecting the fear of the powerfil yet irresponsible elements of society, the seemingly impinitive behaviour of those people at the top and what lurks behind corners and in dark shadows.
Se7en Title Sequence
Mese-en-scene - French for “Everything in the frame”
"Seven," a dark, grisly, horrifying and intelligent thriller, may be too disturbing for many people, I imagine, although if you can bear to watch, it you will see filmmaking of a high order. It tells the story of two detectives - one ready to retire, the other at the start of his career - and their attempts to capture a perverted serial killer who is using the Seven Deadly Sins as his scenario. "
Today we watched the opening sequence for a 1995 American crime film “Se7en” directed by David Fincher and written by Andrew Kevin Walker, oh yes I did my research! As the film starts Morgan Freeman, who plays a retiring Detective William Summerset, standing in his kitchen cleaning up after he made a coffee and straightening his cuffs. The camera then moves on to show Summerset carefully doing up his tie in front of his mirror, then picking up, in order, his belonging which are neatly laid out on the table in front of him, first his keys, then his detective badge, an old school pen knife and lastly a ball point pen, placing the knife and the pen in his shirt pocket. We next see Summerset in his bedroom with his suit jacket carefully laid out on the bed; Summerset checks the jacket for fluff, carefully picks up his jacket to put it on, then turning off his bedside lamp.
The lighting and the coloring of Summerset flat are both very dull; the darkness of the flat suggests it could either be early morning or early evening, whilst setting an eerie atmosphere. The color scheme throughout the flat is a series of creams, beige, browns and greys, this shows us that everything is just used for its function, the kitchen is just a kitchen, no socializing would be done in there, and it is simply used for breakfast, lunch and dinner – just serving its purpose.The next scene shows a dead body laying on the floor in a pool of blood, in a badly lit gloomy house, keeping the dull and eerie atmosphere running throughout the title sequence, the camera moves along the body and then straight to Summerset who is walking through the house, each pace the same, with his hands in his pockets, looking into each room, you can also see a dimly lit light hanging from the ceiling behind him. Summerset then walks into the kitchen and see’s children’s drawings on the fridge and asks another detective the other end of the hall to him, asking if the child saw anything, the reaction from this man, whom I will name the Sloppy Cop, replies to him “what kind of a question is that!?” We’ll be glad when we’ve got rid of you Summerset” this shows us that the cop only really cares about the result, finding out who did it so that he gets paid, nothing else, but on the other hand, Summerset does a good job, he reads between the lines and is almost worried about the child, he wants every piece of information there is to do the job properly – old school almost. Showing us that Summerset has everything he does, is done with efficiency, this is from the way he decorates his home, to the how he dresses to how he does his job. Behind the cop who is speaking to Summerset we can see, no in plain view but behind, as if it is just an everyday thing, a blood splattered blind which is most likely from a gunshot to the head, this makes the viewer also worry about the child, would he/she have had to go through such a terrible ordeal?
Next Bradd Pitt who plays the rookie detective David Mills comes rushing up the stairs, late to work, chewing gum, unshaven and not as smartly dresses as Summerset, “Detective Summerset? I’m Detective Mills” This is not how someone should address someone formally, Mills says this in a very cocky way, he also cocks his head to one side almost as if he knows everything, already fighting to be above Dective Mills. Next we see the body being taken out of the house, covered up and being taken to have a post mortem done on him. The rain is created outside for the impending doom of the underbelly of New York, still carrying on the gloom and despair of what is the down town part New York and you can also hear sirens in the back ground and the flash of the paparazzo camera’s, the public who walk past Mills and Summerset as they walk down the street talking are all dressed in black, again showing the dullness which surrounds them all. As Summerset and Mills walk down the street talking Summerset keeps his same pace, walking with his hands in his pockets, just letting the world almost past him by, he also talks in the same tone, everything about this man is officiate, everything is done with the same amount of purpose, where as Mills walks at a different pace, having to slow down and turning to face Summerset as they talk.
It is clear that they are two completely different people, and that it is like Mills is constantly fighting to have the same status as Summerset. As well as this, when Mills is talking to Summerset he cannot completely face him, and never keeps his eye contact, almost as if he has something to hide, he is not sure of Summerset or that he is just being wary of him. Near the end of the conversation, Summerset turns to face mills, face to face, and Mills then crosses his arms, showing annoyance, impatience and contempt to what Summerset is saying to him.
Summerset then walks off leaving Mills standing with his arms crossed, showing his true annoyance. Next we see Summerset, laying in bed, in a badly lit dull room, used simply for its purpose, sleeping in and for getting dressed – nothing else. Summerset sets a metronome, an old school timing device which is used normally by pianists to keep them in time, in the background we can hear everything that Summerset can hear, both outside his home, and in his head, there are; police sirens, dogs barking, the hussle and bussle of the city outside, shouting, the loud sound of the metronome and then a loud burst of thunder which leads into the titles. It could be that Summerset sets the metronome so that he can try and forget everything that he has seen and heard during his life, these may have something to do with noises outside his home which he can hear, he also goes to sleep with two bedside lamps on, this shows his paranoia of the dark, being alone and the bad things that happen in the underbelly of New York.
The titles sequence shows us what could be the serial killer in this film, everything is shot in black white, this represents the way in which the serial killer thinks, there are no shades of gray, everything is either black or white, your are either a sinner or a saint. This also relates to Summerset, although his home and his clothes are dull colors, he does have grey, browns and beiges, which shows us that to him there are shades of grey, that you have to read between the lines, no everything is as it is on the first look. Also we only see this man’s hands, no face, and no torso. The music that is played during this titles sequence has the sounds of chains and zips, high pitches screams but this is almost as if it is all on a cerset-tape which is being rewound, creating a since of confusion and fright, as if you would come out in cold sweats listening to it.
Throughout the titles we can see the serial killer clearly and precisely lining out words in books and newspaper clipping in a black marker, he also lines out a young boys face and nearly and carefully writes out codes on lots of pieces of paper which he bines himself into a book using an old needle and string. The serial killer is also seen looking at old brain surgery pictures, pictures of dead people and murders, he cuts this pictures out and keeps this is a note book, we also see him carefully cut out the word “God” out of a dollar bill with a scalpel and tweezers, this suggests to us that the murders he commits are religious based.
The New York Times Magazine called the title sequence Kyle Cooper created for Se7en one of the most important design innovations of the 1990s.
Tuesday, 16 November 2010
Todorov
In media terms, narrative is the coherence given to a series of facts. The human mind needs narrative to make sense of things, we connect events and make interpretations based on those connections. In everything we seek a beginning, a middle and an end.
These are Todorov’s expected stages of a narrative.
The theory is simple; there are five stages the narrative can progress through:
- A stage of equilibrium (everything is peaceful and how it should be)
- A disruption of that order by an event.
- a recognition that the disorder has occurred.
- An attempt to repair the damage that the disruption has caused.
- A return or restoration of a new equilibrium
Todorov argues that narrative involves a transformation. The characters or the situations are transformed through the progress of the disruption.
Thursday, 11 November 2010
CONTINUITY PIECE EVALUATION
What did you find difficult about this task?
I didn't find this task difficult as I am re-doing AS media studies. I think that this was alot easier than last year as I already knew what I was doing.
I didn't find this task difficult as I am re-doing AS media studies. I think that this was alot easier than last year as I already knew what I was doing.
What new skills have you acquired or developed?
I don’t feel that I have developed any new skills regarding the shots that would used whilst filming, but I have developed my camera use skills as we have used a different type of camera from what we used to film with last year, so I have learned how to use this camera; for example, how to turn it on and off, how to record, how to change the battery etc. As well as this I have learnt how to put the camera onto the tripod as well as use the tripod.
What worked well?
I feel that because my team/group had a very simple idea this worked well, mainly because we could spend more time on getting a few different takes of each shot – by doing this we could make sure that we had the best pieces of footage to put together to make our continuity sequence. Also, we had two match on action shots that worked well together and we made sure that we didn’t break the 180 degree rule whilst filming.
What could you or your team have done better?
As I have done AS media before I thought that it would be best that I took “a back seat” whilst filming, this was mainly so that the other members of my team could learn how to film for themselves instead of me taking charge of everything. Even though I didn’t have a very active part during the filming I did give advice to my group and examples or other ways in how a shot could be filmed so that it would look best. I think maybe my role could have been stronger, but I will make sure when it comes to filming the title sequence that I do this.
Thursday, 14 October 2010
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