Kapadia:
Reflexive, poetic and expository
Moore:
Participatory, aspects of performative (Grierson - documentary is the creative interpretation of actuality)
Broomfield:
Participatory, reflexive (ie shows him making it - his direct cinema approach to get your own negotiated reading)
Friday, 7 June 2019
Global Film - Aesthetics and Stuff
Aesthetics is almost in the background, but gives an overall look and feel
Ie in Pan's Labyrinth the lighting shows it. Pathetic fallacy of weather - deteriorates as the film goes on
Pans Labyrinth has uterus imagery - the female reproductive system creates
Spirals in fantasy imagery shows the unending nature of the plot or fantasy - eternity. Cogs contrast this, especially in the captain's room, showing the binary opposition
City of God - the high contrast colour shows vibrancy, like the city is alive, almost a character in itself, which is epitomized by the flat scene
Never show an establishing shot of the slum, shows they're trapped
Extreme close ups, shallow depth of field, handheld - documentary. Whips pans intercut with actual cuts. V. fast editing montages - like an advert of music video
Freeze frames - connotations of a gangster film - Goodfellas. Familiar with convention. Difference is Li'l Ze doesn't have the things that gangsters have, he's still trapped even if he's rich
Editing at the end is the same as at the beginning - Rocket becomes the chicken but the roles are reversed - Li'l Ze becomes the chicken
When people want the outside world, they can't escape, but when the outside world wants you, you get out - Rocket
Scenes:
Opening
Kid shot
Knockout Ned montage
Transformation
Closing scene - Li'l Ze talking to police until the Runts walking off. Voyeuristic. Runts walk back into the city - endless cycle.
Pans - he's trapped in his fathers legacy, just as the cogs in his room show that he's trapped in the watch
Production contect - includes representation, setting and time of production
Ie in Pan's Labyrinth the lighting shows it. Pathetic fallacy of weather - deteriorates as the film goes on
Pans Labyrinth has uterus imagery - the female reproductive system creates
Spirals in fantasy imagery shows the unending nature of the plot or fantasy - eternity. Cogs contrast this, especially in the captain's room, showing the binary opposition
City of God - the high contrast colour shows vibrancy, like the city is alive, almost a character in itself, which is epitomized by the flat scene
Never show an establishing shot of the slum, shows they're trapped
Extreme close ups, shallow depth of field, handheld - documentary. Whips pans intercut with actual cuts. V. fast editing montages - like an advert of music video
Freeze frames - connotations of a gangster film - Goodfellas. Familiar with convention. Difference is Li'l Ze doesn't have the things that gangsters have, he's still trapped even if he's rich
Editing at the end is the same as at the beginning - Rocket becomes the chicken but the roles are reversed - Li'l Ze becomes the chicken
When people want the outside world, they can't escape, but when the outside world wants you, you get out - Rocket
Scenes:
Opening
Kid shot
Knockout Ned montage
Transformation
Closing scene - Li'l Ze talking to police until the Runts walking off. Voyeuristic. Runts walk back into the city - endless cycle.
Pans - he's trapped in his fathers legacy, just as the cogs in his room show that he's trapped in the watch
Production contect - includes representation, setting and time of production
Tuesday, 28 May 2019
Experimental Film
Bring debates about experimentalism and post modernism - is there a difference?
No meta narrative - no real binary oppositions or themes, just there to look at. Not put behind anyone or anything - could represent that life is unpredictable and without metanarrative
Non-linearity - the way it uses it, makes us confused as we think we're behind someone and then they die or we switch to another time. Once Vincent is gone we don't really latch onto anything else, possibly Butch but that's up for debate. The non-linearity actually impacts our ability to relate to him even though we know the most about his backstory and life. We first see him in opposition to Vincent, which puts us immediately against him. Butch doesn't have a 'cool' stylized monologue, even his girlfriend does. Makes him look boring, uninteresting in comparison to others.
Auteur traits come into play - dialogue not used to move forward - either to develop character or to look cool.
Debates about experimentalism could be that, as different experimental films came out the same year (Natural Born Killers), there is a movement of post modernism instead of individual experimentalism. Also Breathless by Jean-Luc Goddard came before
No meta narrative - no real binary oppositions or themes, just there to look at. Not put behind anyone or anything - could represent that life is unpredictable and without metanarrative
Non-linearity - the way it uses it, makes us confused as we think we're behind someone and then they die or we switch to another time. Once Vincent is gone we don't really latch onto anything else, possibly Butch but that's up for debate. The non-linearity actually impacts our ability to relate to him even though we know the most about his backstory and life. We first see him in opposition to Vincent, which puts us immediately against him. Butch doesn't have a 'cool' stylized monologue, even his girlfriend does. Makes him look boring, uninteresting in comparison to others.
Auteur traits come into play - dialogue not used to move forward - either to develop character or to look cool.
Debates about experimentalism could be that, as different experimental films came out the same year (Natural Born Killers), there is a movement of post modernism instead of individual experimentalism. Also Breathless by Jean-Luc Goddard came before
Silent Film
Aesthetics and the outside influence on them - cubism etc. Look at the idea that realism vs expressionism can be seen by Charles Wolfe things
Aesthetic Qualities in Pans Labyrinth and City of Giod
Look and feel of the film - auteur traits, mise en scene and cinematography and sound - have we got repeated audio or visual motifs that keep recurring in the film.
Pans Labyrinth - Spiral imagery, dark colours contrasting fantasy. Captain's room - watch motif keeps recurring - cogs turning link to the idea of the clock, as if he's trapped inside the moment. Puts us on the brink of sympathy with the character. Waterwheel in the background of the rabbit sequence. Lullaby played in various scenes, used to emphasize the jarring juxtaposition of fantasy vs reality, and her innocence
City of God - all the costume of the characters makes them blend them into the slum - enforcing the idea that they can't escape and are part of it. This is true for both times. The people who don't belong are obvious - Tiago with his ginger hair, Benny when he starts wanting to leave wears bright colours, different to the others
Pans Labyrinth - Spiral imagery, dark colours contrasting fantasy. Captain's room - watch motif keeps recurring - cogs turning link to the idea of the clock, as if he's trapped inside the moment. Puts us on the brink of sympathy with the character. Waterwheel in the background of the rabbit sequence. Lullaby played in various scenes, used to emphasize the jarring juxtaposition of fantasy vs reality, and her innocence
City of God - all the costume of the characters makes them blend them into the slum - enforcing the idea that they can't escape and are part of it. This is true for both times. The people who don't belong are obvious - Tiago with his ginger hair, Benny when he starts wanting to leave wears bright colours, different to the others
Key issues to talk about for each film:
Pans Labyrinth - Fascism and Patriarchy - Rabbit Poachers and Pale Man, and Tree and opening sequence
City of God - Entrapment and Corruption and escapism and poverty - the aerial shots - and Li'l Dice brothel and montage, supported by Benny death - poverty = everything is a result of poverty
Ideology in BOTSW and NCFOM
Libertarianism, Feminsim or Marxism in BOTSW
Marxism for NCFOM
Passive and active spectatorship - looking for readings of things
4 different ideologies when we talk about it:
Dominant ideology - relates to society
Spectator's own ideologies
The ideological framework or perspective that we put on the film
The film's own ideology
Ie putting a feminist ideology over Blade runner it would change how we see the film compared to putting a Marxist reading on it
By putting a different framework on it will it change the way you see it - would be see civilization vs wild is BOTSW if we didn't put a libertarian perspective on it
Difference between ideology and narrative is that ideology is a set beliefs and values where as narrative is unique to the film
Marxism for NCFOM
Passive and active spectatorship - looking for readings of things
4 different ideologies when we talk about it:
Dominant ideology - relates to society
Spectator's own ideologies
The ideological framework or perspective that we put on the film
The film's own ideology
Ie putting a feminist ideology over Blade runner it would change how we see the film compared to putting a Marxist reading on it
By putting a different framework on it will it change the way you see it - would be see civilization vs wild is BOTSW if we didn't put a libertarian perspective on it
Difference between ideology and narrative is that ideology is a set beliefs and values where as narrative is unique to the film
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