The narrative structure of the different short films we have studied had an impact on my eventual product in various ways. One of these ways was the fact that Night Fishing had a revelation part way through that there were two separate sets of events occurring simultaneously in the narrative. This had an impact on the creation of my film because there are parallel story lines occurring which are not immediately revealed and are important to the overall message and meaning of the production. My film follows a boy who is being chased and stalked by a man wearing a mask. Initially, the plot and back story are an enigma. This was a deliberate move to misdirect the audience that is also demonstrated in Night Fishing, as the audience is lead to believe that the string of events occurring on screen are real and then the story takes a turn to reveal that the events were the figment of someones imagination or an apparition. I found using this plot device in my short film to be helpful as it allowed me to add some mystery and confusion around my film and to allow for different interpretations of the product.

Another one of the short films, Meshes of the Afternoon, also had significant impact on the creation of my short film. This was due to the fact that it includes a motif around the idea of a glass mask that represents someones inner conflict. I took inspiration from this with the inclusion of the white mask the killer is wearing in my short film. This motif was helpful because I used it to reinforce the enigma surrounding my plot and helped to show the masked man as more sinister and evil. Meshes of the afternoon features a confusing narrative involving this woman wearing the glass mask being chased by the protagonist. At the end, a symbolic moment is shown where the protagonist shatters the mirror and essentially ends the torment she is facing. This moment is replicated in my short film when the protagonist punches and breaks the mask of the killer in two. This is significant to the story and marks a pivotal moment in my short film.

Additionally, Meshes of the Afternoon features the device of narrative repetition, where a sequence is repeated and adjusted to make the film feel like a cycle. This helped to shape the narrative of my short film because I used narrative repetition as well. However, differently to it’s inclusion in Meshes of the Afternoon, my narrative repetition features a protagonist who is aware of the repetition and is trying to break out of the cycle. This allowed me to build tension with a repeating narrative and allows the audience to sympathise more for the main character and follow his struggle. I believe it was an important device to use in my film and it shows how Meshes of the Afternoon was an inspirational film for me and had a large impact on the creation of my film.

The final of the short films that was an inspiration for me in the creation of my short film was Le Jetée. I found less inspiration from this than the other films, but I still borrowed one major detail for inclusion in my short film. This feature was a lack of dialogue throughout the film. Due to the style of film and time of release, Le Jetée displays all it’s dialogue as queue cards on the screen. This is not utilised in my film, but I did exclude any and all dialogue from mine. This was intentional as it allowed me to create a higher feeling of tension and insecurity. I believe that in a lot of films the dialogue hinders the emotional weight of the scene when it is excessive of unnecessary. This is why I went for the technique of completely avoiding the dialogue and instead focusing on my visual presentation.

Unheimlich (Working Title)

EXT. Dark. Bench in park. The weather is calm but the only sources of light come from the phone and some street dim lighting. JAKE is sat on the bench on the phone. He wears a black coat and blue jeans.  

JAKE 

Yeah, okay. Well I’ll speak to you later.  

DAISY walks past the bench and nods at JAKE. She wears a grey hooded top and jeans. He nods back politely.  

JAKE gets up and walks away from the bench, in the other direction. We see MASKMAN walking behind him.  

He hears footsteps behind him and quickly turns around. He sees no one. 

He turns back around and starts walking faster. Suddenly, a high-pitched laughing sound in the air is heard and he pulls out his phone again and goes to call someone. 

He sees red liquid trailing down his fingers and flips his hand over. 

There is are large wounds on the back of his hands.  

JAKE 

What is this??? 

He drops his phone and starts to panic. The laughing continues and he turns around to be face to face with the man following him, who wears a large black garment and a mask. 

A hand touches JAKEs shoulder. 

Fade to black. 

INT. Dark Room. JAKE is sat in a chair in the middle of the room.  

He has a strange device strapped to his head and his arms and face are covered in injuries. He starts to shake. 

EXT. Dark. Bench in park. JAKE is sat on the bench on the phone. He flips his hands over and there are no wounds on them. 

MASKMAN 

Hello? Jake? Can you hear me? 

JAKE 

What’s going on? What the fuck just happened? 

The phone hangs up.  

DAISY walks past the bench and turns to nod. JAKE gets up and starts to run. He keeps turning and watching his surroundings as he runs.  

He hears the laughing start again. As he turns again he sees someone stumbling towards him. They fall at their knees and cry for help.  

STRANGER 

I don’t… understand… 

They fall on the ground and lay dead. JAKE leans down and shakes them. 

JAKE 

What don’t you understand? What’s happening? 

Suddenly, the strangers head spins around, and he’s wearing the same mask as MASKMAN, he starts to laugh and seize up. JAKE gets up and stumbles backwards.  

Standing just away in front of him he sees the masked man watching him. The man starts to walk towards him.  

INT. Dark Room. JAKE is sat in a chair in the middle of the room. 

He shakes and his face twists in pain. 

EXT. Park. JAKE falls backwards over the man behind him. He looks up and the masked man is over him. 

Fade to black. 

INT. Dark Room. There is a knife on the floor dimly lit. It’s covered in blood. 

Fade to black. 

EXT. Park. Woman kneeling on ground, head down. She’s reaching up and her body is shaking. 

Fade to black 

INT. Dark Room. MASKMAN stands looking dead on. 

Fade to black 

EXT. Park. Pile of bodies’ lies on the ground covered in wounds and blood. The masked man walks slowly away from them. 

Fade to black 

EXT. Park bench. JAKE is on the park bench with the phone to his ear.  

VOICE ON PHONE 

Hello? Jake? Can you hear me? 

JAKE 

You’re him… aren’t you? The masked man 

Laughing is heard on the other end of the line.  

This time the voice speaks, and it choruses out as a combination of many voices 

MASKMAN (CHORUS) 

You’re mine 

JAKE 

Why… 

He says, shaking and distressed. 

The phone hangs up again 

Daisy walks past the bench, she turns and this time she is wearing the same mask as MASKMAN.  

JAKE flinches in shock and backs from the bench away from the girl.  

He keeps backing away from the bench and turns around slowly. In front of him is the pile of bodies covered in blood and injuries. He shivers and begins to hyperventilate.  

When he turns back around he sees the MASKMAN standing in the distance walking towards him.  

INT. Dark Room. JAKE is sat in a chair in the middle of the room. 

He thrashes and this time he has a knife in his hand. His head snaps back onto the chair 

EXT. Park. JAKE is staring at the masked man walking towards him. He looks down and sees a knife in his hand.  

MASKMAN keeps walking towards him, his drape flowing in the wind and his face looking menacing in the dim light.  

JAKE begins to walk towards the MASKMAN triumphantly. 

JAKE 

Enough. 

JAKE slashes the knife up at the MASKMANs face, the mask shatters into pieces on the ground and the pile of drapes falls empty on the floor.  

INT. Dark Room. JAKE is sat in a chair in the middle of the room. 

He tears the machine off his head and throws the chair to the side.  

Actors in use –

JAKE – Taylor Crowley

DAISY – Amy May

MASKED MAN – Jonathan Tonks

STRANGER – Magnus Mckail

Production –

Music – Jonathan Tonks

Originally composed music on piano. 1 Piece already written, need 2 more. Need to use studio to record music and put through post production. Music is light and atmospheric. Mainly use arpeggios in minor key.


Camerawork – Mainly Jonathan Tonks

Props –

Fake Blood – Bought

Mask – Not Bought

Robe – Bought

Filming –

Film half in studio with black background.
Other half needs to be filmed in a park – probably Worthing Leisure Centre Park.

Cinematography

• Colour theme is centralised around green
• High key lighting throughout
• Very low contrast throughout
• Low angles and high angles mixed
• Long and close shots are mixed together to create a fast paced feeling

Mise en scene

• Lots of green
• Forest gives claustrophobic feeling
• Bright background is overwhelming
• Bamboo used as a weapon – forest attacking them
• At end of scene the HoFD is framed by bamboo between leaders
• Cage around Jin and Mei is diagonal – not aesthetically pleasing

Performance

• Expressive voice acting from Mei
• Mei shaking – trying not to look at Jin
• Soldiers have very exaggerated performance
• Emotional connection between Jin and Mei shown properly for first time

Editing

• Quick cuts
• Lingering shots on action
• Slow motion heightens the physical feats
• Pacing slows in the middle of the scene
• Slow cutting rate paired with slow motion to increase emotion

Sound

• Exaggerated bamboo noises
• Exaggerated movement noises
• Noise level higher due to Mei’s blindness and reliance on sound
• Uses a flattened sonic perspective – equal level throughout
• Music is non diagetic
• Song used is the song Mei sings at the start
• Heavy breathing later in scene with a close sonic perspective
• Sonic perspective is regained when Jin enters

Genre

• Wirework
• Representation of the Tang Dynasty

Representation

• Age:
• Leo and Nia are older and stand in for that generation
• Gender:
• Women are represented as strong and capable in this scene

The opening sequence of “House of Flying Daggers” uses elaborate sets and costumes and colourful frames to create a sense of grandeur and to immerse the audience into the world of the story.

The title sequence right at the start of the scene introduces the tone of the film with its ancient style and creative aesthetic. This is contrasted with the seemingly dull and unenergetic first scene with Jin and Leo. However, this introduction to the characters helps us as an audience to get a grasp on their attitudes. We see that Jin is slouching and relaxed, showing that he will be a more layed back and fun character who breaks rules. Whereas Leo is sat upright, alert and ready while sharpening his sword. This reveals to the audience that he will be much more regimented and strict, following the rules and doing his duty. This scene is important because despite this closed feeling to the set, it is still well decorated and presented. The camera stays in mostly the same fixed position in this scene. The dark colour palette in this scene serves as a contrast to the next scene.

Immediately following this scene, we get introduced to the interior of the Peony Pavilion, which is a very elaborate and intricate set. The lighting in this scene is dramatically different to the previous scene. Jin is introduced to us as a drunk and a womaniser. He seems nasty to us initially.

How might you describe Zhang Yimou’s visual style or aesthetic?

• He uses a wide range of saturated colours. This includes blues, reds and greens to expressively show an emotional tone.

• Over the top acting and highly choreographed action, almost to the point that the action and fight scenes look like a numbered dance.

• Uses real locations, uses highly detailed costumes and sets, uses illustrious grand locations and sets.

• Editing – There is a cross fade near the end of the film. Only shot from one side makes it look like it takes place on the stage. Wire work.
  
• Digital effects, wire work and CGI.
  
• Wuxia pian – Martial arts genre, found in north chinese mandarin culture after the 9th century.
  
• Mutiple Deceptions.

What is significant about Zhang as a Chinese filmmaker, the themes of House of Flying Daggers and its production context (contemporary Chinese Film Industry)

• Zhang does not take a propaganda and imperialistic view in his film.
  
• He focuses on the rebellion instead of the great period of art and history which was going on at the time which the film was set.
  
• It includes themes of love, deception, rebellion against the system.
  
• He choreographed the opening and closing sequences to the Olympic games so he is significant in the community.

What common criticisms are there of the film? What are seen as it’s strengths?

• Characters could be seen as not having much depth and being quite one dimensional. Because of the over the top acting, it could be seen as a poor job.
  
• The plot twists are interesting and engaging and mean we are always on our toes while watching. The action is choreographed excellently with a high intensity.
  
• The mise en scene and cinematography are intense, and mean that the film is very transportive.

How are men and women represented in the film?

• Men and women are instantly represented as having a large disconnect with equality. This is due to the brothel we see at the start, objectifying women.
  
• This wares off during the film as we see Xiao Mei perform impressive acts and show how she is not inferior to her male companions.
  
• Only men shown in the military.
  
• The second half of the film flips the idea and we see women as powerful and in control. This is due to the prowess of the House of Flying Daggers.

House of Flying Daggers can be seen as a love triangle film in a wuxia genre set in a specific political/historical context. What is peculiar about how this plot and setting is explored in the film?

How accurate are the depictions of life in the Tang Dynasty? Why might we question the authenticity of these representations? Provide examples and evaluate

Started working as a cinematographer, then was given an acting role that he was given an award for. When Yimou was employed by Guangxi Film Studio in which he made his directorial debut. His films began to be controversial to the Chinese government. They believed it put them in a bad light and the films were banned in China.

Some of his films after that were influenced by an Italian Neorealism. He changes his tone from politically overt films to more a more grounded approach, he also changed which actors he was using.

After this was when he began to reinvent himself with big blockbuster Wuxia films. These incorporated martial arts and gymnastics.

In an interview centred around his 2016 film “The Great Wall” he said that he was trying to bridge the gap and be a Chinese filmmaker working international.

Some critics love La La Land because it is a immersive and transporting experience. They claim that “the songs are catchy” and it’s “a love letter to Los Angeles”, similar to the ones Woody Allen gave Manhattan. One says that it is “surprisingly perfect”. Clearly the film resonated with them and made them feel emotional. One reviewer believes that “you don’t have to think much” about it and that it’s a very passive viewership experience. Another reviewer doesn’t feel quite as strongly but still feels that the film is “a welcome concept, executed merely adequately”. He feels like the film succeeds less as a musical and more as just a feel good experience. However, he claims that at the end the musical elements of the film to deliver an “emotional wallop”. Other reviewers also enjoyed the film thoroughly, such as one who claims they found them self “falling under the ‘La La Land’ spell”. This seems to be a recurring reaction, that the film can make the audience feel like they are involved in the story and the magic.

On the other hand, some critics feel like La La Land is a very poor musical and “doesn’t understand” the genre it’s in. The film is trying to hard to be musically inspired and ends up falling flat. They claim that “Ryan Gosling is no Fred Astaire”. The actors can’t sing or dance, and they opted for big name stars rather than actual worthy actors, “too bad Broadway stars aren’t big box office”. Some complain that the ending of the film is unfair because we see Seb’s character progression in buying the club and getting his dreams whereas Mia is kind of pushed into the sidelines and we don’t see her slowly achieve her dreams and we just see her after she has.

 

Anthony Lane’s Article:

This article recognises the fact that La La Land is an original script, completely independent from from any books or previous films. However, the article argues that the plot is still a fairly standard love story least for most of the film. It is also inspired and derivative of previous musicals and has a lot of inspirations, such as the homage to “Falling Down” in the opening sequence. This opening is very unrealistic and that is shown to be a positive and negative feature. One of the themes presented in La La Land from the article is the career plans of both characters, they are both dreamy and magical rather than realistic and grounded.

It is stated that the second half of the film is not up to par in quality with the first half. The article says that the pay off shown in this second half is not good enough. This is said to be due to the 5 year jump that the film includes because it misses out important details on how Mia achieves her dreams that she wanted

La Jetee:

 

Death is a cycle: narrative repetition

Tries to provide a coping mechanism to the fear of death: due to World War

Use of photographs and slow narration causes the film to drag

Similar to “Meshes of the Afternoon” due to a message being shown through narrative repetition

The other films follow more traditional methods with moving video rather than photographs

Can use inspiration from this film with a less linear use of time

 

Meshes of the Afternoon:

 

Woman’s death explored in detail

The film is mysterious and uneasy, causing it to be an interesting watch

Narrative repetition similar to “Le Jetee”

She is able to view her own death and understand why it happened

Theme of morality throughout

Use inspiration from film to create a mysterious character who represents an abstract concept

 

Night Fishing:

 

See the post death effects on family of deceased

See how much effort the family go through for the chance to talk and communicate with him again

Music video start to the scene confuses audience

Entire film shot on an iPhone so technical elements are not as complex

Directors message is originally unclear but becomes less of an enigma later on

Inspiration for my film can come from the less technical elements being used yet a coherent story being told

 

When the Day Breaks:

 

Theme of death

Pig feels responsible for death of Chicken

Film explores different coping mechanisms for death

Explores how it’s okay to get over the loss of someone and how there are other ways to cope than crying

Emotion is caused due to the connection we feel to the Pig in her sadness

Story is less confusing and convoluted than the other short films

Inspiration can be drawn from the emotion caused during such a short film and from the way that the film is structured linearly but with some narrative repitition

 

Use studio

Low lighting, red filter.

Need 4 volunteers –

2 more actors, cameraman and mic operator.

 

 

Confined room with 2 people in it. Only object in the room is a ______

They both wake up and don’t know where they are.

Begin to think of ways out, realise they can’t leave.

Person 1 is terrified.

Person 2 is thinking about how they got there and how to get out.

Person 1 keeps talking and annoys person 2

Person 2 gets angry and viciously tells person 1 to shut up

Argument gets heated.

Ends with door opening and man with clipboard coming in while taking notes and taking away the _____ and putting in a _____ instead. Then shining a light at each person causing them to be knocked out. Then a voice says “Test number 26 was a failure. Commence test number 27”.

 

 

 

 

AS Film Studies Sequence Analysis.

Film: 2001: A Space Odyssey                    Sequence: Franks Death

Question 1:

Explore how two film form elements have been used in this sequence to provoke response and make meaning.

One element of film form utilised to provoke a strong response in the sequence is sound. In the scene, the sound (and lack of sound) used makes for an incredibly tense and emotional experience. In particular, the extreme lack of dialogue and audio after the terrible event of Franks death invokes a sense of shock and confusion for the audience. We question Dave’s emotional stability and then respect his dedication to the mission and order. Preceding this is one of the best uses of silence in cinematic history. We are clued to the inevitable doom for Frank when the pod starts turning towards the camera. After this terrifying realisation, there is a jump zoom onto Hal accompanied by complete and utter silence. This is powerful because it says so much with a simple shot and no sound whatsoever.

Throughout the scene, sound plays a seemingly minor role. The immediate thought is to pay less attention to the sound as there is no non-diabetic sound and very little dialogue. However, this is not the case. Sound plays perhaps the most important part in creating an emotional tone. It allows for the audience to feel closer and more connected to the scene. Whilst Frank is struggling for air, the previous breathing sound is missing. This shows how he has no hope and builds the dread and a more active spectator ship.

Another element of film form which plays a role is the editing. Specifically, the way the film lingers on long shots and slow camera movements rather than dramatic cuts even during the tensest and most worrying scenes. This is usually an editing style when the action is slower paced, or it is largely dialogue based. Kubrick, however, understood that you don’t need ECU shots and fast paced cuts to achieve a dramatic tone. Lingering shots are used without many cuts throughout the scene. Another example would be the shot in the  pod at the start to show Frank as being calm and calculated, with high key lighting to show the contrast from the inside of the pod to the cold vacuum of space.

Question 2:

What might this film from 1968 be trying to say about the future?

The film 2001: A Space Odyssey attempts to provoke a strong emotional response from the viewer through the use of dramatic irony and unsavoury predictions. Kubrick is using the film as a way to express his distaste in the advancements in technology and the potentially disastrous consequences of artificial intelligence.

Despite all of this, the film is not technically a dystopia. This is due to the positive atmosphere of most of the film. The environments are clean and polished and humanity has advanced significantly. This means that we have to view the film as more of a positive outlook than a negative one.

An important aspect to mention is that this film was made preceding the moon landings. At the time it was a marvel of special effects and visual design. Specifically the lighting and graphic design were way ahead of their time. This is relevant because it shows the outlook of the future in a less advanced era. Hal is the culmination of all the doubt and fears about technology held in the past. His omnipresent nature and lack of sonic perspective as he has no physical form help to create a sinister aura around his character.

Additionally, the film could be perceived to have taken an optimistic stance on the future. This is due to the fact that by 2001 humanity had not even reached close to the level Kubrick predicted. Despite the evil technology, 2001 still holds an attitude showing humanities explorative nature and urge to discover.

The most prominent aspect of 2001 that details the view on the future is the mise en scene. Props and costumes are meticulously detailed in order to show as accurate of a representation as Kubrick possibly could. The suits worn by the astronauts help to give life to the characters and sets with vibrant colours contrasting with the stale and plain white ship or dark vastness of space.

Furthermore, the high key lighting kept for most of the film helps to bring the emotional tone to life and receive a more positive response from audiences, as the film has a dark and foreboding tone.

Another useful device for analysis is looking at ideological perspective held in the 1960s. The blatantly obvious fact of having 2 while male leads immediately showed that during the time of the making of the film it was not considered feasible that women would be able to handle tasks such as space travel. It is important to consider, however, that there are a total of 2 main characters for the majority of the film and even 1 for a portion of it. This means that Kubrick was not presented with much opportunity to adequately display cultural diversity with casting choices. But it is still an interesting fact to consider when discussing the views held by Kubrick on the future of technology and cosmic exploration.

During the time of the creation of 2001, the space race between the USA and USSR was at an all time high. With the cold war still raging and the tensions not decreasing, 2001 helped to show the technological and visual advancements that the USA had over the USSR. This is a prominent reason for the stunning visuals in a film facing its 50th anniversary.