My group presented our Brief and Treatment to our class and received feedback from our idea. Overall, it was positive and they all said that our movie has definite potential.
Most people liked our narrative structure of starting in the present then going back to the past. A few did not understand it well but that may be that they did not understand our opening title sequence. Everyone liked our sterotypes of our characters as well as setting and how they all link into our genre of Rom-com. Futhermore, one feedback really liked our thinking of when to release our film because how it would attract to the audience.
We also need to work on how we would record the song by Jets as we are not allowed to use it because of copyright. Our group have decided to use a band that would change it around a little so it did not sound like the original.
Thursday, 23 December 2010
Our cast
Our cast photos
Flossie Lancaster as Rose
Tom Brown as Doug
Grace Rowe as Shelby
Lewis O'Brien as Chad
Harriet Hawgood as Mary
Tuan Lai as Ching-Lee
Tom Brown as Doug
Grace Rowe as Shelby
Lewis O'Brien as Chad
Harriet Hawgood as Mary
Tuan Lai as Ching-Lee
More planning...
Location: Angelica Rae's Bedroom and Common room Lockers
Characters: Rose-Flossie Lancaster in 2 costumes: Both dresses, pretty, girly. Hair nice
and styled in Bedroom shot and frizzy and horrible in another shot.
Doug-Tom Brown in 2 costumes: Bedroom look jeans and a hoody, common room in
a baseball jacket and jeans.
Shelby-Grace Row in photograph: Low cut top and tight skirt, pink lipstick pouting
Mary-Harriet Hawgood in photograph: Mug shot maybe? Glasses, hair in bunches,
nerdy smile.
Chad-Lewis O'Brien in 2 costumes: Photograph can be a posing one in a open shirt.
Common room in a baseball jacket and jeans.
Ching-Lee-Tuan Lai in photograph: Checked shirt, jumper, tie properly done with a
goofy smile.
Date of Filming: We have not made a definite date but we hope to film in the beginning of
January 2011.
Things to do:
Characters: Rose-Flossie Lancaster in 2 costumes: Both dresses, pretty, girly. Hair nice
and styled in Bedroom shot and frizzy and horrible in another shot.
Doug-Tom Brown in 2 costumes: Bedroom look jeans and a hoody, common room in
a baseball jacket and jeans.
Shelby-Grace Row in photograph: Low cut top and tight skirt, pink lipstick pouting
Mary-Harriet Hawgood in photograph: Mug shot maybe? Glasses, hair in bunches,
nerdy smile.
Chad-Lewis O'Brien in 2 costumes: Photograph can be a posing one in a open shirt.
Common room in a baseball jacket and jeans.
Ching-Lee-Tuan Lai in photograph: Checked shirt, jumper, tie properly done with a
goofy smile.
Date of Filming: We have not made a definite date but we hope to film in the beginning of
January 2011.
Things to do:
- Confirm with Angelica about using her room
- Getting a photoalbum making sure it is a colour linking in with a school colour
- Taking photographs of our characters infront of a clear background
Saturday, 11 December 2010
Written storyboard
Shot 1: Summit Entertainment
Shot 2: Pass Out Productions
Shot 3: Pan shot of dorm room
Shot 4: Shot of packed boxes
Shot 5: Shot of one box with college name on
Shot 6: A couple messing around
Shot 7: Knocking box over
Shot 8: Picking up things off the floor
Shot 9: Picks up graduation book
Shot 10: Front cover with typography on it saying ‘Graduation Day!’
Shot 11: Turning page, first photo of character and their name
Shot 12: Turning page, second photo of character and their name
Shot 13: Turning page, third photo of character and their name
Shot 14: Turning page, fourth photo of character and their name
Shot 15: Turning page, fifth photo of character and their name
Shot 16: Turning page, sixth photo of character and their name
Shot 17: Turning page, picture of geek and jocks throwing stuff at her with
Directors/Producers names
Shot 18: Match on action shot of then this photo coming to life with the throwing taking
place
Shot 2: Pass Out Productions
Shot 3: Pan shot of dorm room
Shot 4: Shot of packed boxes
Shot 5: Shot of one box with college name on
Shot 6: A couple messing around
Shot 7: Knocking box over
Shot 8: Picking up things off the floor
Shot 9: Picks up graduation book
Shot 10: Front cover with typography on it saying ‘Graduation Day!’
Shot 11: Turning page, first photo of character and their name
Shot 12: Turning page, second photo of character and their name
Shot 13: Turning page, third photo of character and their name
Shot 14: Turning page, fourth photo of character and their name
Shot 15: Turning page, fifth photo of character and their name
Shot 16: Turning page, sixth photo of character and their name
Shot 17: Turning page, picture of geek and jocks throwing stuff at her with
Directors/Producers names
Shot 18: Match on action shot of then this photo coming to life with the throwing taking
place
Questionaire
1. What gender are you? (Circle as appropriate) Female/Male
2. How old are you?
3. Do you prefer English or American films?
4. What genre of film do you prefer? (Circle as appropriate)
Comedy/Romance/Romantic-comedy
5. What would you expect to see in a rom-com (props,actors etc...)
6. What was the last rom-com you watched and enjoyed?
7. What do (did) you look foward to when leaving education?
2. How old are you?
3. Do you prefer English or American films?
4. What genre of film do you prefer? (Circle as appropriate)
Comedy/Romance/Romantic-comedy
5. What would you expect to see in a rom-com (props,actors etc...)
6. What was the last rom-com you watched and enjoyed?
7. What do (did) you look foward to when leaving education?
Thursday, 9 December 2010
Brief in detail.
My project's name is 'Graduation day', the duration of this piece is ninety seconds to two minutes, and the deadline for this project is Friday 11th February.
The members of my group are of course myself (Katie Brunt), Sonia Lall and Beth Rashbrook. No one in our group has a specific job to do, we all share the load and do the work together (unless the work has to be done individually.)
Our plot in a brief version is there are two main characters, a boy and a girl, whom are from two opposing stereotypical groups; 'The jocks' and 'The geeks' The jock is made to ask the geek to start dating him, for a cruel bet that is made up by his friends. The jock goes along with this and the geek blissfully unaware goes out with him. However, the jock begins to fall for the geek, and just as his feelings become real she finds out about the bet and ends their relationship. He tries desperately to win her back, and achieves this goal by graduation day, through a public speech about her.
The target audience for our film are females aged 14-26.
The possible scheduling for publishing our production would be around May/june, as those are the months that people do graduate from school, and therefore it will relate with our audience, and appeal to them more so.
The films that you could compare Graduation Day to, our films such as A Cinderella story, John Tucker must die and 10 things I hate about you.
The way that we as a group could check that our production would have a positive reaction is by having a test preview of our film, and have a questionnaire about the content of our film.
The use of generic codes and conventions in our production will be through the use of colours such as red and pink that connote such things as love and femininity in our typographics, as well as having our typo graphics in a large comic font, to connote humour. The music used in our production will also relate to our theme of 'puppy love', through an upbeat, indie rock song that has the subject of love.
The restraints that we may find are money as they prevent us from renting out a place for our setting, and special effects that may be featured in our production.
The members of my group are of course myself (Katie Brunt), Sonia Lall and Beth Rashbrook. No one in our group has a specific job to do, we all share the load and do the work together (unless the work has to be done individually.)
Our plot in a brief version is there are two main characters, a boy and a girl, whom are from two opposing stereotypical groups; 'The jocks' and 'The geeks' The jock is made to ask the geek to start dating him, for a cruel bet that is made up by his friends. The jock goes along with this and the geek blissfully unaware goes out with him. However, the jock begins to fall for the geek, and just as his feelings become real she finds out about the bet and ends their relationship. He tries desperately to win her back, and achieves this goal by graduation day, through a public speech about her.
The target audience for our film are females aged 14-26.
The possible scheduling for publishing our production would be around May/june, as those are the months that people do graduate from school, and therefore it will relate with our audience, and appeal to them more so.
The films that you could compare Graduation Day to, our films such as A Cinderella story, John Tucker must die and 10 things I hate about you.
The way that we as a group could check that our production would have a positive reaction is by having a test preview of our film, and have a questionnaire about the content of our film.
The use of generic codes and conventions in our production will be through the use of colours such as red and pink that connote such things as love and femininity in our typographics, as well as having our typo graphics in a large comic font, to connote humour. The music used in our production will also relate to our theme of 'puppy love', through an upbeat, indie rock song that has the subject of love.
The restraints that we may find are money as they prevent us from renting out a place for our setting, and special effects that may be featured in our production.
Wednesday, 8 December 2010
Who would distribute my film 'Graduation Day'
I would choose is Summit Entertainment , to ditribute my film as they are an English distributor. They have also distributed films such as 'Twilight'. It was a huge success, and these reasons are why I have chose it, as I obviously want 'Graduation Day' to be a huge success.
Distributers of rom-coms
Distributers of rom-coms:
-Universal pictures
-New line cinema
-Touchstone pictures
-Columbia pictures
-IFC films
-Momentum pictures
-20th century fox
-Miramax films
-Studio canal
-Paramount pictures
-Summit entertainment
-Universal pictures
-New line cinema
-Touchstone pictures
-Columbia pictures
-IFC films
-Momentum pictures
-20th century fox
-Miramax films
-Studio canal
-Paramount pictures
-Summit entertainment
Conventions of a rom-com
One of the conventions of romantic comedy films is the contrived encounter of two potential romantic partners in unusual or comic circumstances, which film critics such as Roger Ebert or the Associated Press' Christy Lemire have called a "meet-cute" situation. During a "meet-cute", scriptwriters often create a humorous sense of awkwardness between the two potential partners by depicting an initial clash of personalities or beliefs, an embarrassing situation, or by introducing a comical misunderstanding or mistaken identity situation. Sometimes the term is used without a hyphen (a "meet cute"), or as a verb, as in "to meet cute."
In many romantic comedies, the potential couple comprises polar opposites, two people of different temperaments, situations, social statuses, or all three (It Happened One Night), who would not meet or talk under normal circumstances, and the meet cute's contrived situation provides the opportunity for these two people to meet.
In movies, the attraction between the lead characters must be established quickly. The subject matter of romantic comedies are the obstacles that the potential pair must face before they can acknowledge, fulfill, or consummate their love, and the audience must care about the relationship enough to finish the movie. The meet-cute, by virtue of its unusual situation, helps to fix the potential relationship in the viewers' minds, and the spark of the meeting is the impetus by which initial vicissitudes of the developing relationship are overcome.
In the film The Holiday (2006), Eli Wallach's character Arthur Abbott (a Hollywood screenwriter) described a meet-cute by saying "Say a man and a woman both need something to sleep in and both go to the same men's pajama department. The man says to the salesman, I just need bottoms, and the woman says, I just need a top. They look at each other and that's the meet-cute."
- Characters in love are distracted and liable to do un-predictable things for humorous purposes.
- The plot of a rom-com will usually see an un-conventional (some times conventional) couple taken through a series of obstacles designed to keep them apart, until the ending when they end up together.
- Happy ending.
- Target audience: Universal women and teenagers.
- Typical male and female, heterosexual relationships.
- Romantic music.
- Stereotypical gender/sexuality roles.
- Attractive protagonists.
- Cliché
- Costume is appealing to the opposite sex or stereotypical to the character.
- Scenes of intimacy.
- Use of colours like red, pink and white which connote love, femininity, innocence, purity, passion etc…
In many romantic comedies, the potential couple comprises polar opposites, two people of different temperaments, situations, social statuses, or all three (It Happened One Night), who would not meet or talk under normal circumstances, and the meet cute's contrived situation provides the opportunity for these two people to meet.
In movies, the attraction between the lead characters must be established quickly. The subject matter of romantic comedies are the obstacles that the potential pair must face before they can acknowledge, fulfill, or consummate their love, and the audience must care about the relationship enough to finish the movie. The meet-cute, by virtue of its unusual situation, helps to fix the potential relationship in the viewers' minds, and the spark of the meeting is the impetus by which initial vicissitudes of the developing relationship are overcome.
In the film The Holiday (2006), Eli Wallach's character Arthur Abbott (a Hollywood screenwriter) described a meet-cute by saying "Say a man and a woman both need something to sleep in and both go to the same men's pajama department. The man says to the salesman, I just need bottoms, and the woman says, I just need a top. They look at each other and that's the meet-cute."
- Characters in love are distracted and liable to do un-predictable things for humorous purposes.
- The plot of a rom-com will usually see an un-conventional (some times conventional) couple taken through a series of obstacles designed to keep them apart, until the ending when they end up together.
- Happy ending.
- Target audience: Universal women and teenagers.
- Typical male and female, heterosexual relationships.
- Romantic music.
- Stereotypical gender/sexuality roles.
- Attractive protagonists.
- Cliché
- Costume is appealing to the opposite sex or stereotypical to the character.
- Scenes of intimacy.
- Use of colours like red, pink and white which connote love, femininity, innocence, purity, passion etc…
Definiton of Rom-com's
Romantic Comedies
Romantic comedies are movies with light-hearted, humorous dramatic stories centered around romantic ideals such as a "true love" able to surmount most obstacles or the "perfect couple." Romantic comedy films are a sub-genre of comedy films as well as of romance films.
The basic plot of a romantic comedy is that two people, usually a man and a woman, meet and then part ways due to an argument or other contrived obstacles. Initially, these two people do not become romantically involved, because they believe that they do not like each other, because one of them already has a partner, or social pressures. However, the screenwriters leave obvious clues that suggest that the characters are in fact attracted to each other, or that they would be a good love match.
While the two people are separated, one or both individuals then realize that they are "perfect" for each other, or that they are in love with the other person. Then, after one of the two makes some spectacular effort to find the other person and declare their love, (this is sometimes called the grand gesture), or due to an astonishing coincidental encounter, the two meet again. Then, perhaps with some comic friction or awkwardness, they declare their love for each other and the film ends happily.
There are many variations on this basic plotline. Sometimes, instead of the two lead characters ending up in each other's arms, another love match will be made between one of the principal characters and a secondary character (e.g., My Best Friend's Wedding). Alternatively, the film may be a rumination on the impossibility of love, as in Woody Allen's film Annie Hall. The basic format of a romantic comedy film can be found in much earlier sources, such as Shakespeare plays like Much Ado About Nothing and A Midsummer Night's Dream. A movie in which a romantic intercourse could happen, but does not, is referred to as Platonic Comedy.
Romantic comedies are movies with light-hearted, humorous dramatic stories centered around romantic ideals such as a "true love" able to surmount most obstacles or the "perfect couple." Romantic comedy films are a sub-genre of comedy films as well as of romance films.
The basic plot of a romantic comedy is that two people, usually a man and a woman, meet and then part ways due to an argument or other contrived obstacles. Initially, these two people do not become romantically involved, because they believe that they do not like each other, because one of them already has a partner, or social pressures. However, the screenwriters leave obvious clues that suggest that the characters are in fact attracted to each other, or that they would be a good love match.
While the two people are separated, one or both individuals then realize that they are "perfect" for each other, or that they are in love with the other person. Then, after one of the two makes some spectacular effort to find the other person and declare their love, (this is sometimes called the grand gesture), or due to an astonishing coincidental encounter, the two meet again. Then, perhaps with some comic friction or awkwardness, they declare their love for each other and the film ends happily.
There are many variations on this basic plotline. Sometimes, instead of the two lead characters ending up in each other's arms, another love match will be made between one of the principal characters and a secondary character (e.g., My Best Friend's Wedding). Alternatively, the film may be a rumination on the impossibility of love, as in Woody Allen's film Annie Hall. The basic format of a romantic comedy film can be found in much earlier sources, such as Shakespeare plays like Much Ado About Nothing and A Midsummer Night's Dream. A movie in which a romantic intercourse could happen, but does not, is referred to as Platonic Comedy.
Tuesday, 7 December 2010
Analysis of contemporary title sequences Older vs Newer
The title sequences I am going to compare are the James Bond Dr No from 1962 to James Bond Casino Royal from 2006.
At the beginning of the title sequence of Dr No from 1962, as the information is appearing, there is the presence of a non-diegetic sound that sounds almost alien-like that is before the iconic, non-diegetic gun shot. This extra-terrestrial sound would lead the audience to suspect that Dr No was a science fiction film due to the use of this sound; even though it is not the true genre as the genre of the film is action. In comparison, at the beginning of Casino Royal there is the non-diegetic sound that is like a white noise, along with the non-diegetic gunshot. The white noise emphasises the gunshot, and instantly connotes to the audience that it is an action film due to the emphasis on the shot sound. This suggests that in title sequences in history, there wasn’t enough attention paid to how the non-diegetic sounds used within the title sequence can represent or misrepresent the genre of the film; unlike presently, where evidently there is attention paid to the non-diegetic sounds connoting the genre as it is successfully done so in the 2006 Casino Royal.
The following shot is the iconic shot of the character of James Bond, through the scope of a gun. The timing of this shot is very quick in the Casino Royal film, as it lasts for about two seconds. However, in Dr No this scene goes on for longer, and has the camera panning across and up and down the screen, before the infamous gun shot. This shows that in the earlier James Bond title sequences, there was a lot of emphasis on the main character and their relevance to the film, as opposed to the representing the genre of the film which is used in title sequences now. However, it could be argued, that due to James Bond being such well-known films, as they have progressed, there is no need to dwell on the character of James Bond. As the audience are already aware of the relevance of his character to the film.
During the gun shot scene, in the mise-en-scene, the audience are introduced to James Bond. However the actor who plays James Bond (Sean Connery in Dr No and Daniel Craig in Casino Royal) in both title sequences isn’t the only things that are different, the costume of both of them are different too. In the Dr No sequence, the shot of James bond is an establishing, long shot, in which his face is not detectable; however his costume is. This costume is a suit that is worn ‘properly’ with the blazer done up, and a hander kerchief in the pocket. Due to the neat presentation of the suit on the character, connotes that James Bond's is a dapper, rich, and always well presented; due to the expensive look of the suit and how it is worn. Bond also has a bowler’s hat on; this is used traditionally in many detective films and cartoons such as Inspector Gadget. Due to this use of the hate this also connotes that James Bond's character is a detective. This is misleading as his character is in fact a spy. However, in the Casino Royal title sequence, the shot is an establishing shot of the character of Bond. Daniel Craig’s face is completely detectable and his costume is also a suit, however it is worn quite differently from Sean Connery. The suit does connote being a dapper, due to the blazer buttons being undone, with the shirts top button un-done, with no tie. This makes the character of James Bond seem suave, confident, with sex appeal. The profession of Bond is represented in better clarity too, as he is not wearing any hat to connote otherwise. This contrast in costumes and shot suggests that the target audiences for the films may have changed throughout the year. As the previous Bond films could have been aimed at men mainly, due to the detective look and the use of guns in the title sequence. However the newer films, such as Casino Royal, target audience may have expanded to also be for women, due to the closer shot of James Bond, and the suave, confident, sex appeal that James Bond has in that shot.
The blood that fills the screen in the aftermath of the gun shot, shot is very different too in both title sequences. In the Dr No the blood quite slowly fills the screen in red. However, in the Casino Royal the blood drips in red segments down the screen; that also have a 3d effect to them. This shows the vast improvements in technology from 1962 to 2006. In this shot in Dr No, the iconic James Bond music begins, and the camera again pans on Bond to ensure the audience are aware the shot is meant to be from the view of a scope. Due to the iconic Bond music and the lingering shot of Bond, shows that the purpose of this lingering shot in the title sequence was to acquaint the audience with the representations of Bond and his character. (As the representations of Bond are the suit, guns, and blood.) Whereas in Casino Royal the blood on the screen shot covers the character of Bond, and the soundtrack begins to play as opposed to iconic James Bond. This shows that the purposes of this title sequences was to contain as much information that represents the film, as opposed to introducing and representing the main character being the priority.
In Dr No the shot than fades into circles, and the titles proceed. The title sequence features many different patterns of different coloured circles that accompany the name of the character, film and the credits. This is accompanied by the iconic Bond music; however without the music and the beginning of the title sequence with all the traditional conventions of a Bond title sequence, there is nothing else that connotes that it is a Bond film, or the genre of the film etc... As the different colour circles have no representations of Bond, therefore it seems as though the circles were just used to show off the technology that was gradually being introduced into title sequences. Silhouettes appear along with the title sequence later on, however, again it only represents the character of Bond; that he is a 'ladies man.' The typographics that are used are very plain font, with a white and sometimes red colour. The white and red does contrast with the black background, therefore it stands out. The typographics also connote the different sides of James Bond's character; being good and bad. In comparison, the rest of the opening title sequence of Casino Royal is completely opposing to Dr No. It is completely contained with representations of the film setting with the use of hearts and clubs that are found on playing cards and therefore represents casinos, which represents the setting. The character of James Bond is included throughout the whole of this title sequence, and again there are representations of his character through him loading a gun. Including representations of the narrative of the film through the guns shooting out clubs, fighting scenes, the 'veins' releasing the clubs and hearts, the pictures of Queens having scopes run across them etc... The images also artistically change into different things, such as the circles turning into black jack boards; this again connotes the setting and the narrative of the film. As well as the agent name of Bond (007), is cleverly put into the graphics, this shows the thought and process there was when producing this title sequence. At the end of the title sequence, there is a close up Daniel Craig, while the non-diegetic background music's lyrics are; 'You know my name.' This shows that this character is well known for his job and character within the films, as well as because the title sequence has given so many representations of his character and the narrative of the film.
When comparing the title sequences it is apparent that the conventions of a title sequence in the 60’s is different to how it is presently. This is due to their being no setting shown in Dr No, along with the neglect of other conventions of title sequences today. However, as the Casino Royal had all the conventions apparent in the title sequence shows just how important there are in an opening title sequence. Without the title sequence being though about in depth, planned, or relevant the audience are not aware of the most important things such as the genre. Overall the comparison of the opening titles for the films has shown me the importance of the conventions in a title sequence, as well as suggesting the fact that a title sequence was not considered as important as then as they are today. Because it is evident through the comparisons, and other examples of opening title sequences (such as the opening title sequences for films such as ratatouille) that title sequences are now a work of art.
At the beginning of the title sequence of Dr No from 1962, as the information is appearing, there is the presence of a non-diegetic sound that sounds almost alien-like that is before the iconic, non-diegetic gun shot. This extra-terrestrial sound would lead the audience to suspect that Dr No was a science fiction film due to the use of this sound; even though it is not the true genre as the genre of the film is action. In comparison, at the beginning of Casino Royal there is the non-diegetic sound that is like a white noise, along with the non-diegetic gunshot. The white noise emphasises the gunshot, and instantly connotes to the audience that it is an action film due to the emphasis on the shot sound. This suggests that in title sequences in history, there wasn’t enough attention paid to how the non-diegetic sounds used within the title sequence can represent or misrepresent the genre of the film; unlike presently, where evidently there is attention paid to the non-diegetic sounds connoting the genre as it is successfully done so in the 2006 Casino Royal.
The following shot is the iconic shot of the character of James Bond, through the scope of a gun. The timing of this shot is very quick in the Casino Royal film, as it lasts for about two seconds. However, in Dr No this scene goes on for longer, and has the camera panning across and up and down the screen, before the infamous gun shot. This shows that in the earlier James Bond title sequences, there was a lot of emphasis on the main character and their relevance to the film, as opposed to the representing the genre of the film which is used in title sequences now. However, it could be argued, that due to James Bond being such well-known films, as they have progressed, there is no need to dwell on the character of James Bond. As the audience are already aware of the relevance of his character to the film.
During the gun shot scene, in the mise-en-scene, the audience are introduced to James Bond. However the actor who plays James Bond (Sean Connery in Dr No and Daniel Craig in Casino Royal) in both title sequences isn’t the only things that are different, the costume of both of them are different too. In the Dr No sequence, the shot of James bond is an establishing, long shot, in which his face is not detectable; however his costume is. This costume is a suit that is worn ‘properly’ with the blazer done up, and a hander kerchief in the pocket. Due to the neat presentation of the suit on the character, connotes that James Bond's is a dapper, rich, and always well presented; due to the expensive look of the suit and how it is worn. Bond also has a bowler’s hat on; this is used traditionally in many detective films and cartoons such as Inspector Gadget. Due to this use of the hate this also connotes that James Bond's character is a detective. This is misleading as his character is in fact a spy. However, in the Casino Royal title sequence, the shot is an establishing shot of the character of Bond. Daniel Craig’s face is completely detectable and his costume is also a suit, however it is worn quite differently from Sean Connery. The suit does connote being a dapper, due to the blazer buttons being undone, with the shirts top button un-done, with no tie. This makes the character of James Bond seem suave, confident, with sex appeal. The profession of Bond is represented in better clarity too, as he is not wearing any hat to connote otherwise. This contrast in costumes and shot suggests that the target audiences for the films may have changed throughout the year. As the previous Bond films could have been aimed at men mainly, due to the detective look and the use of guns in the title sequence. However the newer films, such as Casino Royal, target audience may have expanded to also be for women, due to the closer shot of James Bond, and the suave, confident, sex appeal that James Bond has in that shot.
The blood that fills the screen in the aftermath of the gun shot, shot is very different too in both title sequences. In the Dr No the blood quite slowly fills the screen in red. However, in the Casino Royal the blood drips in red segments down the screen; that also have a 3d effect to them. This shows the vast improvements in technology from 1962 to 2006. In this shot in Dr No, the iconic James Bond music begins, and the camera again pans on Bond to ensure the audience are aware the shot is meant to be from the view of a scope. Due to the iconic Bond music and the lingering shot of Bond, shows that the purpose of this lingering shot in the title sequence was to acquaint the audience with the representations of Bond and his character. (As the representations of Bond are the suit, guns, and blood.) Whereas in Casino Royal the blood on the screen shot covers the character of Bond, and the soundtrack begins to play as opposed to iconic James Bond. This shows that the purposes of this title sequences was to contain as much information that represents the film, as opposed to introducing and representing the main character being the priority.
In Dr No the shot than fades into circles, and the titles proceed. The title sequence features many different patterns of different coloured circles that accompany the name of the character, film and the credits. This is accompanied by the iconic Bond music; however without the music and the beginning of the title sequence with all the traditional conventions of a Bond title sequence, there is nothing else that connotes that it is a Bond film, or the genre of the film etc... As the different colour circles have no representations of Bond, therefore it seems as though the circles were just used to show off the technology that was gradually being introduced into title sequences. Silhouettes appear along with the title sequence later on, however, again it only represents the character of Bond; that he is a 'ladies man.' The typographics that are used are very plain font, with a white and sometimes red colour. The white and red does contrast with the black background, therefore it stands out. The typographics also connote the different sides of James Bond's character; being good and bad. In comparison, the rest of the opening title sequence of Casino Royal is completely opposing to Dr No. It is completely contained with representations of the film setting with the use of hearts and clubs that are found on playing cards and therefore represents casinos, which represents the setting. The character of James Bond is included throughout the whole of this title sequence, and again there are representations of his character through him loading a gun. Including representations of the narrative of the film through the guns shooting out clubs, fighting scenes, the 'veins' releasing the clubs and hearts, the pictures of Queens having scopes run across them etc... The images also artistically change into different things, such as the circles turning into black jack boards; this again connotes the setting and the narrative of the film. As well as the agent name of Bond (007), is cleverly put into the graphics, this shows the thought and process there was when producing this title sequence. At the end of the title sequence, there is a close up Daniel Craig, while the non-diegetic background music's lyrics are; 'You know my name.' This shows that this character is well known for his job and character within the films, as well as because the title sequence has given so many representations of his character and the narrative of the film.
When comparing the title sequences it is apparent that the conventions of a title sequence in the 60’s is different to how it is presently. This is due to their being no setting shown in Dr No, along with the neglect of other conventions of title sequences today. However, as the Casino Royal had all the conventions apparent in the title sequence shows just how important there are in an opening title sequence. Without the title sequence being though about in depth, planned, or relevant the audience are not aware of the most important things such as the genre. Overall the comparison of the opening titles for the films has shown me the importance of the conventions in a title sequence, as well as suggesting the fact that a title sequence was not considered as important as then as they are today. Because it is evident through the comparisons, and other examples of opening title sequences (such as the opening title sequences for films such as ratatouille) that title sequences are now a work of art.
Institution
The study of institutions is very important because the role shapes the form of any text being made. In order to analyse the relationship between the text and the target audience, we need to think about how this influences both the production and the recieving of the text. You need to be able to identify the institution that has made the text (for unseen exercises you will be told the name) and to know enough about that institution to be able to assess how this has affected the way the text is shaped. An example of an institution is Time Warner.
What is an institution?
The institution is responsible for a text that is the body which made the text. The shape of a media institution and the texts it creates is usually formed by a trade-off between 4 crucial influences: money (or lack of it), Ownership (and the degree of control this involves), Artistic or social otivations (wanting to produce certain texts) and Target audience (needing to attract a particualr audience or being dependent on substaining a particular audience.)
For example a broadcast institution may be required to provide a certain number of factual programmes or programmes for a particular social group. This would have a significant impact on scheduling and on the production process. A small independent producer may want to amke big budget action/ adventure movies but may have limited funds and thus have to compromise on special effects.
Identification of an institution:
1. What institution created a particular text
2.How this institutional context has shaped the text
3.What ideologies are therefore established in the text
4.What institutional codes and conventions are used in the text.
Types of institution
Media institutions can broadly be divided into three types: commercial, public service and independent.
Commercial institutions have to make money to survive newspapers have to see advertising space and sell copies; boradcasters have to generate advertising revenue. They cannot afford to produce texts which will attract small audiences-especially niche audiences as the advertisers will want to access to large and stable audiences.
PSB
The BBC is a different type of organisation a public service broadcaster which is required to provide a public service when boradcasting and not be driven by commercial influences. In other worlds, the BBC must provide a range of programmes for different social groups, including minority groups and niche audiences, without needing to justify this programming commercially.
Independent institution
In general, independent organisation are essentially commercial since they need to all sufficent copes (eg magazines) or sell their programme to a TV channel for broad cast fo example. Their motivation may well be less commercial but most independents have to sell their texts somehow, in order to survive.
News corp- World's third largest media conglomerate (behind the disney company and time warner company) as of 2008, and the world's third largest in entertainment as of 2009. The company's chairman, chief executive officer and founder is Rupert Murdoch.
What is an institution?
The institution is responsible for a text that is the body which made the text. The shape of a media institution and the texts it creates is usually formed by a trade-off between 4 crucial influences: money (or lack of it), Ownership (and the degree of control this involves), Artistic or social otivations (wanting to produce certain texts) and Target audience (needing to attract a particualr audience or being dependent on substaining a particular audience.)
For example a broadcast institution may be required to provide a certain number of factual programmes or programmes for a particular social group. This would have a significant impact on scheduling and on the production process. A small independent producer may want to amke big budget action/ adventure movies but may have limited funds and thus have to compromise on special effects.
Identification of an institution:
1. What institution created a particular text
2.How this institutional context has shaped the text
3.What ideologies are therefore established in the text
4.What institutional codes and conventions are used in the text.
Types of institution
Media institutions can broadly be divided into three types: commercial, public service and independent.
Commercial institutions have to make money to survive newspapers have to see advertising space and sell copies; boradcasters have to generate advertising revenue. They cannot afford to produce texts which will attract small audiences-especially niche audiences as the advertisers will want to access to large and stable audiences.
PSB
The BBC is a different type of organisation a public service broadcaster which is required to provide a public service when boradcasting and not be driven by commercial influences. In other worlds, the BBC must provide a range of programmes for different social groups, including minority groups and niche audiences, without needing to justify this programming commercially.
Independent institution
In general, independent organisation are essentially commercial since they need to all sufficent copes (eg magazines) or sell their programme to a TV channel for broad cast fo example. Their motivation may well be less commercial but most independents have to sell their texts somehow, in order to survive.
News corp- World's third largest media conglomerate (behind the disney company and time warner company) as of 2008, and the world's third largest in entertainment as of 2009. The company's chairman, chief executive officer and founder is Rupert Murdoch.
Narrative theory and structuralism.
Narrative- The way stories are told, how meaning is constructed and communicated. Organises time and space into a very compressed form. Groups events into cause and effect. The narrative voice can vary. Whose story is being told and from whose perspective? Narrative plot or narative storyline.
Narrative story- Events as they happen in chronological order.
Narrative plot- Events as they are presented tp the audience by the author.
Structuralism- Structuralists concern themselves with how meaning is established and maintained. Meaning is attributed and is not already contained in the thing. Narratology is a branch of structuralism that studies the nature of 'story' rather than individual tales in isoloation. An example of a structuralists are Rowland Barthes and Tzvetan Todrov.
Tzvetan Todrov- Bulgarian structuralist linguist publishing influential work on narrative from the 1960's onwards. Todrov suggested that stories began with an equilibrium or status quo where any potentially opposing forces are in balance. This is disrupted by some event, setting in chain a of series or events. Problems are solved so that order can be restored to the world of fiction.
Beginning>Middle>End
Situation>problem>resolution
Equilibrium>Disruption>Resolution/New Equilibrium
Narrative story- Events as they happen in chronological order.
Narrative plot- Events as they are presented tp the audience by the author.
Structuralism- Structuralists concern themselves with how meaning is established and maintained. Meaning is attributed and is not already contained in the thing. Narratology is a branch of structuralism that studies the nature of 'story' rather than individual tales in isoloation. An example of a structuralists are Rowland Barthes and Tzvetan Todrov.
Tzvetan Todrov- Bulgarian structuralist linguist publishing influential work on narrative from the 1960's onwards. Todrov suggested that stories began with an equilibrium or status quo where any potentially opposing forces are in balance. This is disrupted by some event, setting in chain a of series or events. Problems are solved so that order can be restored to the world of fiction.
Beginning>Middle>End
Situation>problem>resolution
Equilibrium>Disruption>Resolution/New Equilibrium
Genre
Genre- A class or category of artistic endeavor having a particular form, content, technique, or like the genre of epic poetry, or the genre of symphonic music. Genre can help an audience identify the products that they are seeing. It creates an expectation in us as an audience.
Ideology
Ideology- The body of doctrine, myth, belief etc... that guides an individual, social movement, institution, class or large group.
Ideology is a body of ideas or set beliefs that underpins a process or institution and leads to social relations. These sets of belief are those helf by groups within society, and the relevant ones are those held by the ruling/dominant groups.
It is the ideas behind a media text, the secret (or sometimes not so secret) agenda of its producers. It is important to be able to indentify the different ideological discourses that may be presented in even an apparently simple photograph.
Disney ideology- A film's ideological meanings refer to the ideas that the films conveys about its world's social relations, economic structures, and political institutions. Disney classics are not as timeless as Walt Disney would have liked to think, they all carry the ideological baggage of their time.
Ideology is a body of ideas or set beliefs that underpins a process or institution and leads to social relations. These sets of belief are those helf by groups within society, and the relevant ones are those held by the ruling/dominant groups.
It is the ideas behind a media text, the secret (or sometimes not so secret) agenda of its producers. It is important to be able to indentify the different ideological discourses that may be presented in even an apparently simple photograph.
Disney ideology- A film's ideological meanings refer to the ideas that the films conveys about its world's social relations, economic structures, and political institutions. Disney classics are not as timeless as Walt Disney would have liked to think, they all carry the ideological baggage of their time.
Moving images languages
Cinematography
Mise-en-scene
Sound
Editing
Narrative/structure
Mise-en-scene is a french term, which includes: make up, setting, props, costume, facial expression, performance and lighting.
Mise-en-scene
Sound
Editing
Narrative/structure
Mise-en-scene is a french term, which includes: make up, setting, props, costume, facial expression, performance and lighting.
Representation in media and views.
Representation- In media studies this term means the way in which the media portray or represent people, events, ideas and issues. The media are constantly making choices about who is portrayed and who is ignored, and about how people or events are portrayed. This gives them great power to influence the way audiences think and behave.
The reflective view- According to this view, when we represent something, we are taking its true meaning and trying to create a replica of it in the mind of our audience, like a reflection. This is the view many people have on how the news works.
The intentional view- This is the opposite of the reflective view. This time the most important thing in the process of representation is the person doing the representation. They are presenting their view of the thing they are representing and the words and images that they use mean what they intend to mean to influence us.
The constructinist view- It challenges the weakness of the two previous theories. Constructionists believe that a representation can never be the truth, or even a version of the truth. Someone wants you to accept, since that is ignoring your ability of thinking as an individual to make up your own mind, as well as the influences of the society in which you live on the way that you do so.
The reflective view- According to this view, when we represent something, we are taking its true meaning and trying to create a replica of it in the mind of our audience, like a reflection. This is the view many people have on how the news works.
The intentional view- This is the opposite of the reflective view. This time the most important thing in the process of representation is the person doing the representation. They are presenting their view of the thing they are representing and the words and images that they use mean what they intend to mean to influence us.
The constructinist view- It challenges the weakness of the two previous theories. Constructionists believe that a representation can never be the truth, or even a version of the truth. Someone wants you to accept, since that is ignoring your ability of thinking as an individual to make up your own mind, as well as the influences of the society in which you live on the way that you do so.
Camera basics aka cinematography.
In the 1920's German filmmakers moved the camera within the shot for psychological and thematic reasons.
Camera movements:
Pan, crab, track/dollying, zoom in/out, ped up/down, tilt up/down, handheld, crane, steadicam and aerial.
Camera Angels:
These are used extensively to communicate meaning and emotion about characters.
Low angle shot: Looking up at a character or object, often to instil fear or awe in the audience.
Straight and high angle shots: Looking at an eye-level angle to a character or object, giving a sense of equality between subject and audience; high angle shot. Looking down on a character, often to show vulnerability or weakness.
Canted or oblique angles: The camera is tilted to show the scene at an angle. This is used extensively in the horror and science fiction genre. The audience will often not consciously realize the change. This is often referred to as a 'dutch tilt' or 'going dutch.' The most obvious and frequently use of this technique is found in the 'Batman' television show, and original movie (when the villains are on the screen.)
Shot angles
Low
Eye-level
High
Worm's eye
Canted
Bird's eye
Proximity.
Extreme close up
Head and shoulders close up
Mid shot
3/4 shot
Medium long shot
Long shot
Extra long shot
Two shots
Over the shoulder
Emotion comes directly from the actor's eyes. You can control the intensity of that emotion by placing the camera close or far away from thos eyes. A close up will fill the screen with emotion, pulling away to a wide angle shot will dissipate that emotion. A sudden cut from wide to close up will give the audience a sudden surprise. Sometimes a strange angle above an actor will heighten the drama.
Choice of shot size is also directly related to the size of the final display screen.
Camera movements:
Pan, crab, track/dollying, zoom in/out, ped up/down, tilt up/down, handheld, crane, steadicam and aerial.
Camera Angels:
These are used extensively to communicate meaning and emotion about characters.
Low angle shot: Looking up at a character or object, often to instil fear or awe in the audience.
Straight and high angle shots: Looking at an eye-level angle to a character or object, giving a sense of equality between subject and audience; high angle shot. Looking down on a character, often to show vulnerability or weakness.
Canted or oblique angles: The camera is tilted to show the scene at an angle. This is used extensively in the horror and science fiction genre. The audience will often not consciously realize the change. This is often referred to as a 'dutch tilt' or 'going dutch.' The most obvious and frequently use of this technique is found in the 'Batman' television show, and original movie (when the villains are on the screen.)
Shot angles
Low
Eye-level
High
Worm's eye
Canted
Bird's eye
Proximity.
Extreme close up
Head and shoulders close up
Mid shot
3/4 shot
Medium long shot
Long shot
Extra long shot
Two shots
Over the shoulder
Emotion comes directly from the actor's eyes. You can control the intensity of that emotion by placing the camera close or far away from thos eyes. A close up will fill the screen with emotion, pulling away to a wide angle shot will dissipate that emotion. A sudden cut from wide to close up will give the audience a sudden surprise. Sometimes a strange angle above an actor will heighten the drama.
Choice of shot size is also directly related to the size of the final display screen.
Key concepts
Media languages, forms and conventions-The ways in which meanings are created/ways media texts communicate.
Institution-The organisation that create media text.
Genre-A way of categorising texts according to shared conventions.
Representation-The ways in which world is re-presented to us by the media.
Audience-The people who buy/consumer a media text.
Ideology-The beliefs, ideas and value systems behind or reflected within a media text.
Narrative-Story/plot.
Semiotics-The study of signs and the communication through symbols.This has 3 areas of study: the sign, the system, the culture.
Anchoring images-Anchoring is accompanying an image with a caption that is either humorous or explains the events within the image.
Juxtaposition-The act of placing two different ideas, images, objects, or characters side by side or in similar positions for effect. By placing the two opposing things together, their differences are even more prominent.
Institution-The organisation that create media text.
Genre-A way of categorising texts according to shared conventions.
Representation-The ways in which world is re-presented to us by the media.
Audience-The people who buy/consumer a media text.
Ideology-The beliefs, ideas and value systems behind or reflected within a media text.
Narrative-Story/plot.
Semiotics-The study of signs and the communication through symbols.This has 3 areas of study: the sign, the system, the culture.
Anchoring images-Anchoring is accompanying an image with a caption that is either humorous or explains the events within the image.
Juxtaposition-The act of placing two different ideas, images, objects, or characters side by side or in similar positions for effect. By placing the two opposing things together, their differences are even more prominent.
Tuesday, 30 November 2010
Brief and treatment
The purpose of our movie is to entertain the niche audience, but to also allow them to revisit days, and able to have an insight into student life. Our film would appeal to our target audience because of its humorous side, and they’ll be able to relate to the characters within our film, as our characters are students. Therefore many of our students will be able to relate to last day, graduation day etc… Our target audience will also enjoy our film because they may have experienced the experiences that will be portrayed in our film.
Our film will be distributed by advertisement in cinemas worldwide! It will be presented by adverts, billboards, radio etc…
Our film will be a low budget film as it will be our first, however not our last. We will be using cheap props, and a location, not a studio.
We plan to have our film done in the next couple of months.
Treatment
http://www.scribd.com/doc/44291400/Graduation-Day
Our film will be distributed by advertisement in cinemas worldwide! It will be presented by adverts, billboards, radio etc…
Our film will be a low budget film as it will be our first, however not our last. We will be using cheap props, and a location, not a studio.
We plan to have our film done in the next couple of months.
Treatment
http://www.scribd.com/doc/44291400/Graduation-Day
Monday, 29 November 2010
Detailed analysis on opening title sequences.
Analysis of the opening title sequence of 10 things I hate about you
10 things I hate about you is an American romantic comedy, and was created in 1999. It was directed by Gil Junger.
The opening title sequence begins with the usual institutional information that is usually found at the beginning of an opening title sequence. However, there is rock music in the background. The rock music connotes teenage rebellion, and this connotation is apparent in the typographics too, as the typographics are graffiti-like, and therefore also represent teenage rebellion and disruption. The music then changes and goes into another youthful song. However, this song does not connote teenage rebellion as the previous song did; it just simply represents teenagers as it is an alive, jumpy, up beat song.
The next scene in this opening title sequence is the setting of the film. It first comes on to the screen in a sketchy and graffiti-like form, which again represents teenagers, and informs the audience that the genre of this film is a teenage comedy. It then disperses into the real setting, which seems to be city in America, as the surroundings are very built up with house, and tall buildings, as the setting is in the city this connotes that the characters in the film are wealthy as the lighting on the city is bright and not dingy. The title of the film then appears, in the same typographics that the previous text was in.
The camera then pans down into a quiet, suburban looking street. This is very cliché as many American teen rom coms are set in areas as such, and so therefore again represent the genre of the film. The lighting is again bright and therefore connotes happiness and wealth. The audience are then introduced to some of the key characters in the film; Bianca Stratford and her friends. It is evident to the audience that Bianca is popular in school by the costume her character and her friends are wearing, her car and the music that they are listening to (which is the preppy teenage song that has been running throughout since the change of songs.) However in an opposing shabby-looking car Kat Stratford pulls up alongside them. Kat Stratford is Bianca’s older and opposite sister. The audience are instantly aware that Kat is the rebellious character due to her costume being completely black, her un-tidy hair, and the song that she’s listening to ‘I don’t give a damn about my bad reputation.’ The song that I previously mention that is being played in Kat’s car overtakes Bianca’s music, and then consequently becomes the backing song to the opening title sequence, and Kat then drives away from the traffic lights before Bianca does. These actions represent Kat’s dominance as a character over her sister’s character.
The setting is then moved to the high school. The high school appears to be an average American high school, and shows the division in stereotypes by the camera zooming out from the jocks playing hockey, to see the widespread diverse groups of teenagers whom attend the high school. This already connotes trouble, as there are so many different groups of stereotyped teenagers, whom are re-known for not getting along, but however presently are getting along, which cause suspicion to arise.
Kat’s character then ends the title sequence by ripping down a poster that someone had just put up. This again shows the rebellion of her character, and suggests to the audience that there is more trouble to come from her character, as well as leaving the audience wanting to watch the rest of the film to find out more…
Love actually
The opening title sequence immediately informs the audience that ‘Love actually’s’ genre is a rom com; through having Hugh Grant as the voice over, as Hugh Grant is re-known for appearing in romantic comedy’s. Hugh Grant is talking about all forms of love in his monologue; this again informs the audience that it is a rom com. There is only the diegetic sound of Hugh Grant speaking and the non-diegetic sound of a soundtrack, this sets the tone of the film which is romantic, smoothing, heart-warming love. The setting is also apparent as at the beginning is an establishing shot of Heathrow airport; which is England, and the film is also too set in England. The themes of love, family, friends and relationships are clearly shown with the use of mid tracking shots of people embracing each other. The next shot is in a recording studio in which a classic love song is being adapted to a Christmas song, this informs the audience that the film is set circa Christmas time.
The Proposal
The opening of ‘The proposal’ begins with the non-diegetic soft, relaxing song. This connotes to the audience that ‘The proposal’ is a rom com, as this type of music is used in many other rom coms also. The typographics are a plain font, however it is white. White is usually used for weddings as the bride traditionally wears a white wedding dress, therefore representing the theme of love within this film. It also introduces the two main characters, but shows them as single, and living on their own. As this film is a rom com there is the suggestion that these two characters may get together as they are single etc… Therefore, reiterating the genre of the film. A the opening sequence continues it shows that the main characters work together, and as the woman is the boss of the main (whom we know everyone fears due to the mise-en-scene) this already shows some of the humour that is going to be contained within the film.
Angus thongs and perfect snogging
The beginning of ‘Angus thongs and perfect snogging’ starts with the introducing the main character, Georgia and her dad. The comedy part of the rom com is already present as the main character is dressed as a stuffed olive, and refuses to get on the car with her father, for fear of messing up her costume. The audience are then introduced to some more of the key characters of the film; Georgia’s enemy Lindsay, and her friends Ellen, Jaz and Rosie. As Georgia storms out of the party, through sheer embarrassment, the camera pans and shows establishing shots of where the film is set; in Eastbourne in England. The non-diegetic backing song is ‘scouting for girls- she’s so lovely.’ This song is a popular teen song, therefore this connotes that the genre of the film is a teen rom com. The typographics also show this, as they are curly and girly, and white, which seems to be a trend colour for typographics within rom coms.
Essay on the opening title sequence of Se7en
Se7en is a 1995 American film, which was directed by David Fincher. The opening title sequence was designed by Kyle Cooper.
At the beginning of the opening title sequence of Se7en we (as the audience) are introduced to the character of Detective Lt. William Somerset, through the use of mis-en-scene and representation, whom is played by Morgan Freeman. Detective Somerset is shown in his kitchen, in his apartment, facing the sink as he is cleaning up coffee. He is wearing a white shirt, whilst the rest of the surrounding kitchen is also white. As Detective Somerset is washing up a coffee mug, this shows the audience that Detective Somerset is a hard working, neat and tidy man. The coffee would also provide the audience with the assumption that Detective Somerset works in a hectic job, as the caffeine from the coffee may be what he needs due to working in a stressful and hectic profession. The repetitive use of white in this scene could represent the honest, true and just character of Detective Somerset. As the colour white connotes all these things, as well as purity and cleanliness.
There is also a chess set present in the shot, this could connote that Detective Somerset is a strategic thinker, whom is always one step ahead of everyone else. As well as connoting that the character of Somerset is intelligent, as well as referring to the film's plot itself. As it could be that the film's plot is like a game of chess, it is Somerset against the criminals. This also links in with the lighting of the shot, as the lighting is blue, which represents the cold and connotes isolation, which could represent the coldness of the outside world, in comparison with Detective Somerset's sanctuary (being his apartment.)There is also a prison like shadow on the curtains of the window. This connotes that Somerset is trapped in the world that he lives in; he is a prisoner in this certain way of life.
In the next shot there is a close up of Detective Somerset when he is putting his tie on. As Somerset is putting on a tie, along with his smart shirt and trousers, this show that Somerset is in a profession of some sort as he is dressed smart. As Somerset has a very solemn, serious, sombre expression whilst doing this, it seems as though he is beginning to reveal the characteristics of the character of Detective Somerset. By Somerset having such an expression, this also gives the audience the feeling that the film itself may have a very solemn, serious, sombre tone.
Next in the opening title sequence is a close up shot of a table. On the table are Somerset's police badge, his pen, and his pocket knife etc lined up in a row. As well as showing the profession that Detective Somerset is in through the police badge (which is of course the police force) it also shows the audience that Somerset is a strategic, methodical person, as he picks up each item in a certain pattern, and places them in a certain way also.
The shot following that is of Somerset flicking a tiny bit of fluff off of his jacket. As well as again, reiterating to the audience that Somerset's character is very neat and tidy, this could also connote that Somerset takes notice of things that others may not consider as important or even have the attention drawn to. Therefore this action is showing that Somerset is an observant character, and an attentive detective. Somerset's observational character is shown again in the next scene, as he is walking around the crime scene, talking to the other detective present. Somerset's character is also presented as a caring, compassionate character in this crime scene shot, as he asks the question whether the child saw the murder take place. This shows that Somerset cares for the welfare of the child; even though he does not know him personally. Somerset's compassion is also shown through the opposing response of his colleague in the shot, which is along the lines of 'What kind of question is that?' This again connotes to the audience Somerset's attention to detail and compassion, which has already been shown in the previous shots.
Next, the audience are introduced to another key character in the film; Detective David Mills who is played by Brad Pitt. Detective Mills arrives in the shot chewing, chewing gum. This portrays Detective Mills character as a cocky, confident character. The cockiness of Mills' character is reiterated when Somerset and Mills step out side, after the body has been bagged up, and Mills then begins to ignore Somerset about going to a bar, and continues to talk over him about transferring, and being a ‘dumper’ on a case in the morning of his arrival.
However, the tables are then turned on Detective Mills, as when Somerset asks Mills why he was transferred; Somerset retaliates to Mills' cocky retort, which then puts the character of Detective Mills back in his place. Somerset does this by saying that the previous work with homicides is different to where Mills has been transferred to, to which replays he understands that. This is also shown in the positioning of the characters in the scene, as Somerset is walking slightly in front of Mills, which shows his dominance as a character. Throughout the dialogue between the two characters in this scene there is constant swapping of the positioning of the characters. At some parts of the conversation Somerset is in front of Mills, and other parts Mills is in front of Somerset. The positioning of the characters, again show their dominance at the particular part in the conversation. Somerset then mentions a key point about the ploy. That for the next seven days he will remember that. This is a key point in the plot as the murders occur over a period of 7 days; which is one person murdered per day, it also unforgettably the name of the film. Somerset the closes this scene and the conversation between himself and Detective Mills; this again shows his dominance as a character.
The next shot is back to Somerset's apartment, in which Somerset is reading in bed. Somerset is doing so with a pair of glasses on, which again represents his character as being an intellectual. There is then a brief period, when Somerset takes off his glasses, the audience can then hear an argument in the street, dogs barking, and cars. These sounds connote that the street outside is dangerous and busy, as well as suggesting that the street has marked Somerset's life; as it seems to be invading his privacy, and he is unable to escape from it. Detective Somerset then reaches over from his bed, to start the metronome on the bedside table. The ticking of the metronome emphasizes Somerset's insomnia, with the assistance of the diegetic sound of the street. This connotes that Somerset's character can never just relax and switch off; he is always 'on the job.' The monotonous sound of the metronome also seems like a ticking, almost like a countdown for when the murderer strikes again!
The next scene jumps straight to the title sequence. This at first shows a close up of a book, with empty pages that are being turned over by a shadowy, creepy, chilling hand. The typography is distorted, sketchy, an almost of a skeleton-like shape. This typography could represent the murder's state of mind; that being dangerous and unpredictable. There is also the sound of a rewinding tape; this could also represent the killers mind, as the murderer could be replaying the same thing over and over in his head. As well as representing the police, as it could be the tapes that police make when questioning a subject for evidence. The lack of colour in the opening sequence could also represent the killer’s state of mind; being it one of dark, dangerous nature and completely unfocused on reality.
There is then the precision of the illusive character when creating the book; this is shown by the precise cutting of pictures, and the endless pages of writing, which gives the audience the impression that it is a calculated character behind the creation of the book. The sinister music that accompanies this scene also adds to that illusion. The crossing out of certain letters, and the eyes of the picture of a male, also gives the impression that the person whom is creating the book, is setting up a sadistic game, which evidently involves murder due to the graphic images that appear next in the sequence. By having 'You've got me closer to God' as the ending of the opening title sequence again puts in the sadistic eerie tone, as the voice itself is distorted and mechanical which instantly causes hackles to appear. As well as the mentioning of God, as many criminals in the past have said that they committed their hideous crimes, due to God telling them to do so. Therefore this again puts an unsafe, immoral and inhumane tone to the film before it has even begun!
Codes and conventions of Opening title sequences.
One of the codes and conventions of opening and title sequences, is to inform the audience what the film/television programme is called, without an opening title sequence, this would not be apparent to the audience.
A second code and convention of an opening title sequence is to show the genre of the film/programme. This is apparent through the typography and the audio that is used within the opening title sequence.
Another code and convention of an opening title sequence, is to introduce the audience to the key characters in the film/programme.
An opening title sequence should also include the setting in which the programme/film is set in, for it to have the codes and conventions of an opening title sequence.
An opening title sequence should also show the narrative of the film/ television programme.
Yet, another code and covention of an opening title sequence, is to provide evidence of the themes that are to be contained in the film/television programme.
The final code and covention of an opening title sequence is give the audience the institutional information about the film/ televison programme.
A second code and convention of an opening title sequence is to show the genre of the film/programme. This is apparent through the typography and the audio that is used within the opening title sequence.
Another code and convention of an opening title sequence, is to introduce the audience to the key characters in the film/programme.
An opening title sequence should also include the setting in which the programme/film is set in, for it to have the codes and conventions of an opening title sequence.
An opening title sequence should also show the narrative of the film/ television programme.
Yet, another code and covention of an opening title sequence, is to provide evidence of the themes that are to be contained in the film/television programme.
The final code and covention of an opening title sequence is give the audience the institutional information about the film/ televison programme.
Thursday, 25 November 2010
Smashing magazine- The art of the film title throughout cinema history.
Film titles made their appearance in the earliest silent films, along with letter cards (or inter-titles), which provided context. These cards were the responsibility of the lettering artist, who collaborated with the scriptwriter and director to create narrative continuity so that audiences could follow what they were seeing. I wasn't aware, until reading this article that there were silent films. I also wasn't aware that films didn't always have title sequences, however I am now. Therefore this was of interest to me as I wasn't aware of silent films, or that there hasn't always been title sequences.
we see the emergence of typography that seeks to match letterforms with the subject matter. I didn't think that there would of been a beginning of title sequences, I was decieved into believing that title sequences always had a lot of thought gone into them from the typography to the music. But of course, as there is progression in all aspects of life, there is progression in the design of title sequences. Beginning with the typography reflecting the film (which I had mistakenly thought had always happend.)
Thus, blackletter fonts in the opening credits were used to evoke horror, ribbons and flowery lettering suggested love, and typography that would have been used on “Wanted” posters connoted a western flick. Due to the 1920's-30's European cinema being influenced by modernism, images and typography that we use to identify genres of films today, was just beginning. It has made question that without the influence of modernism, would we still associate 'flowery lettering' with love? Wanted posters with the West and black letter fonts with horror?
The concept of score visualization first conceived by Oskar Fischinger in his film “Studies” anticipates the effects created by Saul Bass in “The Man With the Golden Arm” (1955) and later by Susan Bradley in “Monsters, Inc” (2001) This point made an impact on me, as due to Oskar Fischinger adding music and effects, it has developed into visually stunning title sequences, which whet the audiences appetite for the films; such as Susan Bradley's in 'Mosters Inc.'
Kyle Cooper states that while the power of computer graphics is obvious, he still likes experimenting with live action, because there is something special about the imperfection of making things by hand. Until reading this I was under the illusion that all the titles were done digetly. However on learning that it is not always done so (with Susan Bradley's ending sequence of 'Ratatouille' as an example) I have realised that I don't give that much attention to the art in the title sequences. Therefore by reading this article it has made me much more appreciative of the art, and dedication it takes in producing an effective title sequence.
Thursday, 11 November 2010
Continuity piece
1.What did you find difficult about this task? The most difficult thing I found about this task was trying to incorporate all the camera shots that needed to be demonstrated; match on action shot, reverse shot and keeping to the 180 degree rule.
2.What new skills have you acquired or developed?
Due to having to ensure that my group demonstrated all these camera techniques, I am now able to recognise them without difficulty.
3. What worked well?
Incorporating and having clear storyboards, so that everyone had their ideas included into the piece, which made the piece easier to film, as everyone was aware of what they should be doing.
4.What could you or your team done better?
I think that our group have done the continuity piece to the best of our ability, in our early stages of A level media.
2.What new skills have you acquired or developed?
Due to having to ensure that my group demonstrated all these camera techniques, I am now able to recognise them without difficulty.
3. What worked well?
Incorporating and having clear storyboards, so that everyone had their ideas included into the piece, which made the piece easier to film, as everyone was aware of what they should be doing.
4.What could you or your team done better?
I think that our group have done the continuity piece to the best of our ability, in our early stages of A level media.
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