Ridley Scott
Studied at Royal College of Art, where he helped establish the film department. Made his first film, Boy and Bicycle, there. Early work also included working on the TV programme Tonight, Z-Cars and Out of the Unknown. First directing job was in 1965, directing an episode of Adam Adamant Lives!
First film called The Duelist (1977), was nominated for the main prize in the Cannes Film Festival, and won Best Debut Film.
Did advertising in the '70s, e.g. the Flake advert, 1978
Inspired by the success of Star Wars, Scott decided to make Alien (1979) which made him internationally famous. Created themes that he'd follow after - strong female protagonist, dystopian future etc.
Blade Runner (1982) followed this and gained him even more success, although at the time it was commercially unsuccessful.
Other work that solidified his title as a successful director early in his career is the Apple advert 1984 and Legend.
Later on he directed Black Rain, which was the first of six collaborations with Hans Zimmer, Thelma and Louise (1991) which got him his first nomination for the Academy Award for Best Director.
Gladiator (2000) was his next big success. It won 5 Academy Awards, and Scott was nominated again for Best Director, which happened again for Black Hawk Down (2001). The successful Hannibal (2001) was also made in this year.
The next large success Scott had was The Martian (2014), which was commercially Scott's most successful film and was positively received.
Always has female leads/strong females
Highly concentrated visual style
Very atmospheric films
Often focus on issues such as identity, isolation, invasion/colonization, humanity etc.
Need to know about him an as auteur (French word for author, when someone makes such an impact on their work that its instantly recognizable as theirs, i.e. how they use film form micro-features, aesthetics, repeated use of performers, use of music, could be a common thread of themes and ideas within their films)
Harrison Ford
Interest in acting started at University, where he took a drama class to get over shyness. His experience with student radio and newfound interest in acting took him to LA to become a radio voice-over artist, but he was unsuccessful in finding work.
Joined the New Talent program with Columbia Pictures to find bit-work in films, his first was in Dead Heat on a Merry-Go-Round (1966). First speaking job was in Luv (1967).
As he needed to support his family and he wasn't happy with the acting jobs he was getting, he became a carpenter. He worked for many celebrities, which would eventually gain him contacts.
Fred Roos, a Casting Director, got him a role in American Graffiti (1973) by George Lucas. From this and doing carpentry for the director he got small roles in The Conversation (1974) and Apocalypse Now (1979).
Worked with Lucas casting for Star Wars (1977) and from this was cast as Han Solo, the role that would make him internationally famous. Starring as Indiana Jones in Raiders of the Lost Ark (1981) also did this, and he was now one of the most famous stars of the time.
His next major success was starring as Deckard in Ridley Scott's Blade Runner (1982), which although not majorly successful at the time became a cult classic.
Films from then on were hit-or-miss, with varying levels of success overall. Examples include Patriot Games (1992), Sabrina (1995), Six Days, Seven Nights (1998), Firewall (2006) etc.
His latest big commercial successes were in reprising his titular roles in Indiana Jones and the Crystal Skull (2008) and Star Wars: The Force Awakens (2015), which was also well received by fans and critics.
Blade Runner
Released in 1982
Directed by Ridley Scott and starring Harrison Ford and Rutger Hauer
Based on the 1968 novel Do Androids Dream of Electric Sheep by Philip K. Dick
Budget $28 million, box office $33.8 million, although since then it has become far more prolific
Themes - humanity (what makes us human, religion, paranoia)
Film noir
Casting for Deckard was difficult, many actors were considered before settling on Ford (Gene Hackman, Dusting Hoffman, Robert Mitchum, Sean Connery etc. were all considered), as Ford was prolific at the time they wanted him to attract attention
Philip K. Dick wasn't consulted for production, and as a result Scott had his own take on the world. However, Dick approved of the version and said that they enhanced each other.
Need to know about critical reception
Thursday, 26 October 2017
Vertigo Research
Alfred Hitchcock
Began his film career working as a Title Card Designer at Famous Players-Lasky, the production branch of Paramount Pictures.
Moved to a new firm run by Michael Balcon after being noticed for his work on Always Tell Your Wife, the firm eventually became Gainsborough Pictures. He went from a Title Designer to a combination of Screenwriter, Art Director and Assistant Director for 5 pictures. Working on The Blackguard meant he worked in Germany, where he watched production of The Last Laugh by F.W. Murnau. Impressed by this, and his techniques influenced Hitchcock's productions from then.
Started directing in 1922 with Number 13, which was cancelled. His next few films were unsuccessful.
His first thriller, The Lodger: A Story of the London Fog (1927) was very successful. Was influenced by techniques seen in Germany.
His 10th film, Blackmail (1929) is a landmark film, considered the first 'British Talkie' (uses sound). It began his tradition of using landmarks as iconography in his films - i.e. the British Museum.
Worked again with Balcon in 1933 at Gaumont British, on films such as The Man Who Knew Too Much and The 39 Steps which was well received in the UK and in the US, making him internationally famous.
Next success was The Lady Vanishes (1938), which was the first film that got him a New York Film Critics Circle Award for Best Director. Directed many successful films from there, e.g. Stage Fright (1950), Strangers on a Train (1951), I Confess (1953) etc.
Had his own TV show Alfred Hitchcock Presents (1955-65), making him even more famous.
1954 - 1960 were the peak of Hitchcock's films. With Rear Window, Vertigo, To Catch a Thief, The Man Who Knew Too Much, The Wrong Man. With Later peak years including North by Northwest, Psycho, The Birds.
Need to know about him an as auteur (French word for author, when someone makes such an impact on their work that its instantly recognizable as theirs, i.e. how they use film form micro-features, aesthetics, repeated use of performers, use of music, could be a common thread of themes and ideas within their films)
James Stewart
Nominated for 5 Academy Awards.
Voted the third greatest male screen legend.
Was initially a stage actor but due to the Great Depression many theatres went bankrupt and most of the plays he was with never made it to release. Moved to LA to work in Hollywood.
His first film Spencer Tracy (1934) was poorly received, but The Murder Man (1935) and Rose Marie (1936) were more popularly received, as was After the Thin Man (1936), his first very dramatic role.
Worked intensively with Margaret Sullivan, who helped him work on his acting and mannerisms and was instrumental in getting him the leading role in Next Time We Love.
Partnered with director Frank Capra many times from 1938 onwards (You Can't Take it With You, It Happened One Night, Mr. Smith Goes to Washington).
Received his only Academy Award for The Philadelphia Story (1940).
Began his military service in the Air Force.
The first film he made after his military career was It's a Wonderful Life (1946), which was nominated for 5 different Academy Awards but received mixed reviews, as did many of his following films.
Returned to Broadway after his spate of unsuccessful films, appearing in Harvey (1944) which gained him a dedicated stage following.
In the 1950s he went into Western (due to working with Anthony Mann - Bend of the River, The Naked Spur, The Man from Laramie etc)and Suspense films (the latter thanks to work with Alfred Hitchcock - Vertigo, Rope, Rear Window, The Man Who Knew Too much etc)
Continued westerns into the 1960s, working with John Ford on Two Rode Together, The Searchers, The Man Who Shot Liberty Vance.
Looked normal and acted down to earth, which gave him appeal to play those types of roles - exceptionally relatable
Vertigo
Made in 1958
Directed by Alfred Hitchcock, starring James Stewart and Kim Novak
Based in the 1954 novel D'entre les morts (From Among the Dead), which was written for Hitchcock to film as he lost out on a film from the author in 1955
Budget $2.5 million, box office $7.3 million
Themes - 'male aggression and visual control'
Filmed mainly around the San Francisco area in which it was based - although wherever possible studios were used as Hitchcock preferred them as the environment was more controlled
Hitchcock and Costume Designer Edith Head used colour to heighten emotions - grey was used for Madeleine's character because it wasn't typical for blondes (i.e. creating suspicion), while white was used for Novak's as it was more 'natural' for the hair colour
Set the trend to use high-contrast colour, especially in film noir
First film ever to use reverse dolly zoom
Wasn't immediately commercially successful
Starts off with a restricted narrative, but after Novak's reveal scene it's an omniscient narrative
People didn't like that Stewart was older than the love interest
There was an alternative ending where the bad guy was caught, as some countries didn't allow antagonists to get away
Need to know about critical reception
Began his film career working as a Title Card Designer at Famous Players-Lasky, the production branch of Paramount Pictures.
Moved to a new firm run by Michael Balcon after being noticed for his work on Always Tell Your Wife, the firm eventually became Gainsborough Pictures. He went from a Title Designer to a combination of Screenwriter, Art Director and Assistant Director for 5 pictures. Working on The Blackguard meant he worked in Germany, where he watched production of The Last Laugh by F.W. Murnau. Impressed by this, and his techniques influenced Hitchcock's productions from then.
Started directing in 1922 with Number 13, which was cancelled. His next few films were unsuccessful.
His first thriller, The Lodger: A Story of the London Fog (1927) was very successful. Was influenced by techniques seen in Germany.
His 10th film, Blackmail (1929) is a landmark film, considered the first 'British Talkie' (uses sound). It began his tradition of using landmarks as iconography in his films - i.e. the British Museum.
Worked again with Balcon in 1933 at Gaumont British, on films such as The Man Who Knew Too Much and The 39 Steps which was well received in the UK and in the US, making him internationally famous.
Next success was The Lady Vanishes (1938), which was the first film that got him a New York Film Critics Circle Award for Best Director. Directed many successful films from there, e.g. Stage Fright (1950), Strangers on a Train (1951), I Confess (1953) etc.
Had his own TV show Alfred Hitchcock Presents (1955-65), making him even more famous.
1954 - 1960 were the peak of Hitchcock's films. With Rear Window, Vertigo, To Catch a Thief, The Man Who Knew Too Much, The Wrong Man. With Later peak years including North by Northwest, Psycho, The Birds.
Need to know about him an as auteur (French word for author, when someone makes such an impact on their work that its instantly recognizable as theirs, i.e. how they use film form micro-features, aesthetics, repeated use of performers, use of music, could be a common thread of themes and ideas within their films)
James Stewart
Nominated for 5 Academy Awards.
Voted the third greatest male screen legend.
Was initially a stage actor but due to the Great Depression many theatres went bankrupt and most of the plays he was with never made it to release. Moved to LA to work in Hollywood.
His first film Spencer Tracy (1934) was poorly received, but The Murder Man (1935) and Rose Marie (1936) were more popularly received, as was After the Thin Man (1936), his first very dramatic role.
Worked intensively with Margaret Sullivan, who helped him work on his acting and mannerisms and was instrumental in getting him the leading role in Next Time We Love.
Partnered with director Frank Capra many times from 1938 onwards (You Can't Take it With You, It Happened One Night, Mr. Smith Goes to Washington).
Received his only Academy Award for The Philadelphia Story (1940).
Began his military service in the Air Force.
The first film he made after his military career was It's a Wonderful Life (1946), which was nominated for 5 different Academy Awards but received mixed reviews, as did many of his following films.
Returned to Broadway after his spate of unsuccessful films, appearing in Harvey (1944) which gained him a dedicated stage following.
In the 1950s he went into Western (due to working with Anthony Mann - Bend of the River, The Naked Spur, The Man from Laramie etc)and Suspense films (the latter thanks to work with Alfred Hitchcock - Vertigo, Rope, Rear Window, The Man Who Knew Too much etc)
Continued westerns into the 1960s, working with John Ford on Two Rode Together, The Searchers, The Man Who Shot Liberty Vance.
Looked normal and acted down to earth, which gave him appeal to play those types of roles - exceptionally relatable
Vertigo
Made in 1958
Directed by Alfred Hitchcock, starring James Stewart and Kim Novak
Based in the 1954 novel D'entre les morts (From Among the Dead), which was written for Hitchcock to film as he lost out on a film from the author in 1955
Budget $2.5 million, box office $7.3 million
Themes - 'male aggression and visual control'
Filmed mainly around the San Francisco area in which it was based - although wherever possible studios were used as Hitchcock preferred them as the environment was more controlled
Hitchcock and Costume Designer Edith Head used colour to heighten emotions - grey was used for Madeleine's character because it wasn't typical for blondes (i.e. creating suspicion), while white was used for Novak's as it was more 'natural' for the hair colour
Set the trend to use high-contrast colour, especially in film noir
First film ever to use reverse dolly zoom
Wasn't immediately commercially successful
Starts off with a restricted narrative, but after Novak's reveal scene it's an omniscient narrative
People didn't like that Stewart was older than the love interest
There was an alternative ending where the bad guy was caught, as some countries didn't allow antagonists to get away
Need to know about critical reception
Saturday, 21 October 2017
Character Archetypes
Protagonist - Main character, follows for whole film, usually good guy but not always
Antagonist - Generally bad guy opposes the protagonist, usually defeated at the end. Either evil or diet (not that bad) evil
Anti Hero - Bad guy in their own film, lacks conventional hero qualities, much more common in modern films
Side Kick - Usually comic relief, secondary to protagonist, audience voice, doesn't get the girl
Tragic Backstory - Ie Batman, had something bad happen to them and that's what motivates them
Antagonist - Generally bad guy opposes the protagonist, usually defeated at the end. Either evil or diet (not that bad) evil
Anti Hero - Bad guy in their own film, lacks conventional hero qualities, much more common in modern films
Side Kick - Usually comic relief, secondary to protagonist, audience voice, doesn't get the girl
Tragic Backstory - Ie Batman, had something bad happen to them and that's what motivates them
Blade Runner Themes
Humanity
What makes you human - ie are the Replicants human. People have friends/family contact are Replicants
Basically Frankenstein - man plays God, creation destroys him
Roy enters eye shop in shadow, slight low angle, at end bathed in unnatural blue light
Identity
When the Replicants find out their memories are fake, it brings into question what makes you you
After Rachel finds out she's a replicant she's lit from the back in harsh white light
Dystopia
Japanese imagery - foreign threat
High contrast light, smoke effects - industry. Iconography - pyramid
Ridley Scott Thematic Traits:
Dystopian Futures
Identity
Humanity
Isolation
Corporation Corruption
Aesthetic Traits:
High contrast colour low key lighting
Shooting through smoke
Long landscape establishing shots
Cinematography used for world building rather than narrative (possibly because the world is more interesting than the characters, at least the protagonist
Eye close ups
Even in 1982 still has ideas of toxic masculinity - women like forceful men
What makes you human - ie are the Replicants human. People have friends/family contact are Replicants
Basically Frankenstein - man plays God, creation destroys him
Roy enters eye shop in shadow, slight low angle, at end bathed in unnatural blue light
Identity
When the Replicants find out their memories are fake, it brings into question what makes you you
After Rachel finds out she's a replicant she's lit from the back in harsh white light
Dystopia
Japanese imagery - foreign threat
High contrast light, smoke effects - industry. Iconography - pyramid
Ridley Scott Thematic Traits:
Dystopian Futures
Identity
Humanity
Isolation
Corporation Corruption
Aesthetic Traits:
High contrast colour low key lighting
Shooting through smoke
Long landscape establishing shots
Cinematography used for world building rather than narrative (possibly because the world is more interesting than the characters, at least the protagonist
Eye close ups
Even in 1982 still has ideas of toxic masculinity - women like forceful men
Friday, 20 October 2017
Analysis of the costumes in Blade Runner
Deckard
- Trenchcoat - Typical sleuth so used to violent confrontation and so we're fine with him killing . Gives belief in intellectual ability, piece of iconography of detectives. Leaves coat when leaving flat, left life behind - view of his job changed (potentially by Roy). No hood or hat, very open. Scott wanted him to wear a Trilby because iconography, but as Deckard doesn't 'fit the mould' he didn't
- Oversized Trousers - Shows instability, unkempt, epitomised by flat
- Shirt + Tie - Multicoloured, could look cheap, rundown, trampy, but is similar to Indiana Jones. Brown/earthy ie nature - uses newspaper even though its futuristic 1019, traditionalist? Doubles as umbrella. Mismatched brown with coat connotes mismatched character, man out of time - doesn't match. Also verisimilitude - makes it look real. Future fashion, doesn't look like anyone in 1982 when it was made
- Gun - Wooden handle, 1940s police, traditional but futuristic. Big, shotgun-like shot designed for Replicants. Simple like him, no futuristic additions
Almost overuse of brown/normality could suggest a 'factory issue' detective
Rachel
Rachel
- Massive Suit/Dress - Looks slim, weak. Leather sexualises her. Shoulder pads make her stand out, cardboard cut out-ish, not of this world (hints at Replicant). Large could make her more important in society and in the narrative. Bright red lipstick stands out - only place she's bright, dangerous - femme fatale-esque. Grey colour in betwen good and evil. Looks like a femme fatale - dangerous and attractive. Doll-like wth big hair and eyes+walk. Fur = wealth even if artificial. shows she's pure as well. Cigarette holder 1940s femme fatale theme
Tyrell
- Make up - Makes him look plastic-y, reflects what he does and how he sees the world
- Glasses - Very magnified, big physically - all seeing plays into his idea that he's God, like Saruman in LOTR, intelligence overwhelms him
- Robes - Lab connotations, comfy, religious - playing God
Big ego - stereotypical recluse, as does everyone in the film. Chess pieces have real people. Has a mythological Egypt theme
Roy
Costume
Always wears brown overcoat in typical sleuth fashion, although it has a slightly futuristic twist. Lack of hood even though its always raining (a point pointed out in the film) could show detachment - too cool/got other things to worry about/stuck in ways etc. Also wears shirt and tie, but warm orange and neutral blues (mix between old and new, Sci Fi and traditional action) combined with the overall smart-casual look give connotations of cowboys - shows his personality. Holster and pistol combine the two connotations.
Everything around him is perpetually grubby - even his flat and the police car he rides in is disorganised and and is constantly dark, which connotes to the audience his personality - messy and darker than is traditional in a protagonist, almost anti-hero status, but still overall the good guy.
Tyrell
Costume
He wears a suit, typical formal attire for a businessman at the time (assumedly). However, it appears that everything he wears is of very high quality, for example his suit appears to be velvet or another expensive material, his bowtie (which hints extravagance and eccentricity - or trying to put himself on another level to the general wealthy population) and shirt appear similarly. All of this combines to offer a high opinion of himself. When he is killed he wears a flowing white robe. This is used to connote divinity and innocence, which his his opinion of himself, but also overall highlights Roy as the antagonist even if at the time the boundaries are unclear.
His accommodation is a solid gold palace, which not only connotes that he is exceedingly rich, but sees himself in a king or even god role (which is heavily hinted at in the film with the theme of creating life).
Rachel
Costume
Wears large dresses. Poofy, extreme, eccentric. Reminiscent of Victorian/Earlier nobility, looks important, possibly to encourage ideas of femininity. Contrasts with the thinner, more minimal clothing common in rest of film - possibly showing a naivety or inexperience, hinting at the truth. As she's close to Tyrell it could show that he's protecting her from the truth.
Fits in perfectly in the 'prefect' palace of Tyrell, her extravagant clothes matching the gold surroundings. However, on the street or in Deckard's flat she appears out of place, lost, which suits her growing characters development as an out of place replicant.
Roy
Costume
Dresses similarly to Deckard in that he wears a large overcoat, which could suggest a ying yang relationship between the two (in terms of their role in the film, Roy can be seen as easily overpowering Deckard). However, the coat is leather and black, which overall results in a more sinister tone - almost robotic, possibly gives connotations of Nazis (especially given his slight accent and bleach blonde hair). The popped up collar especially is similar to Deckard's, as attention has been drawn to it earlier in the film. However, the tucked in t-shirt and dark trousers creates a more authoritarian and generally more sinister look then Deckard's, and is also reminiscent of German culture. In the ending action scenes he is only in his underwear, which highlights his imposing presence, and connotes to the audience that he's returning to his base 'urges' or 'functions', killing.
Roy fits in well with the dingy world, his neutral clothing similar to the colours of both the world and the people in it. However, regardless of where he is, he always presents himself as an authority figure due to his large stature.
Roy
- Similar to Deckard - foreshadowing Replicant reveal. Both a bit human, both the same. Coat is similar but 'cooler', wears his fastened to show more control than Deckard. Black leather has sexual connotations
- Lat Scene - Naked-ish - primal, minimalistic, opposite to robotic, more human feel to gain empathy
- Looks very Germanic - Nazi or just intimidating connotations, shows he's the enemy
- Hair - Looks overly artificial compared to rest of him, but shows most emotion. Light from head like a halo, angelic. Christ like almost - persecuted, nail in hand like Stigmata/Crucifix
Costume
Always wears brown overcoat in typical sleuth fashion, although it has a slightly futuristic twist. Lack of hood even though its always raining (a point pointed out in the film) could show detachment - too cool/got other things to worry about/stuck in ways etc. Also wears shirt and tie, but warm orange and neutral blues (mix between old and new, Sci Fi and traditional action) combined with the overall smart-casual look give connotations of cowboys - shows his personality. Holster and pistol combine the two connotations.
Everything around him is perpetually grubby - even his flat and the police car he rides in is disorganised and and is constantly dark, which connotes to the audience his personality - messy and darker than is traditional in a protagonist, almost anti-hero status, but still overall the good guy.
Tyrell
Costume
He wears a suit, typical formal attire for a businessman at the time (assumedly). However, it appears that everything he wears is of very high quality, for example his suit appears to be velvet or another expensive material, his bowtie (which hints extravagance and eccentricity - or trying to put himself on another level to the general wealthy population) and shirt appear similarly. All of this combines to offer a high opinion of himself. When he is killed he wears a flowing white robe. This is used to connote divinity and innocence, which his his opinion of himself, but also overall highlights Roy as the antagonist even if at the time the boundaries are unclear.
His accommodation is a solid gold palace, which not only connotes that he is exceedingly rich, but sees himself in a king or even god role (which is heavily hinted at in the film with the theme of creating life).
Rachel
Costume
Wears large dresses. Poofy, extreme, eccentric. Reminiscent of Victorian/Earlier nobility, looks important, possibly to encourage ideas of femininity. Contrasts with the thinner, more minimal clothing common in rest of film - possibly showing a naivety or inexperience, hinting at the truth. As she's close to Tyrell it could show that he's protecting her from the truth.
Fits in perfectly in the 'prefect' palace of Tyrell, her extravagant clothes matching the gold surroundings. However, on the street or in Deckard's flat she appears out of place, lost, which suits her growing characters development as an out of place replicant.
Roy
Costume
Dresses similarly to Deckard in that he wears a large overcoat, which could suggest a ying yang relationship between the two (in terms of their role in the film, Roy can be seen as easily overpowering Deckard). However, the coat is leather and black, which overall results in a more sinister tone - almost robotic, possibly gives connotations of Nazis (especially given his slight accent and bleach blonde hair). The popped up collar especially is similar to Deckard's, as attention has been drawn to it earlier in the film. However, the tucked in t-shirt and dark trousers creates a more authoritarian and generally more sinister look then Deckard's, and is also reminiscent of German culture. In the ending action scenes he is only in his underwear, which highlights his imposing presence, and connotes to the audience that he's returning to his base 'urges' or 'functions', killing.
Roy fits in well with the dingy world, his neutral clothing similar to the colours of both the world and the people in it. However, regardless of where he is, he always presents himself as an authority figure due to his large stature.
American Cinema
Come out of America/US produced
Ie Bladre Runner, although directed by Ridley Scott who is British, is made with US money, US studio, US backing
Compare and contrast Vertigo (Alfred Hitchcock) to Blade Runner (Ridley Scott)
Blade Runner
Stars Harrison Ford and Rutger Hauer
Music composed by Van Grelis
End dialogue of Rutger Hauer was improvised
Harrison Ford said nothing in end sequence
Roy to Deckard at end almost like talking to a pet, RH superior being OR Deckard doesn't think there's any point reasoning because Deckard's a superior being
Lighting - Tyrell's candle-lit room, natural light contrast with fake/synthetic world to show wealth
Owl watched Tyrell die, similar to cat watching Parker die - typical of Ridley Scott
Never seen Sebastian killed - not showing something can make it much more powerful. Similar to horror in that we use imagination to make it scarier. Also possible to show Roy in a better light, if we see him kill the innocent Sebastian before the redeeming end scene our opinion of him is negative
Deckard is morally ambiguous character - almost antihero, similar to Roy, connoting end scene
Dominant Asian culture encourages dystopian viewpoint - alien and scary for western world
Deckard's apartment seems claustrophobic, no wide shots, just bits
Only strong colours are neon - human-less
Dystopian future - something bad has happened
Ie Bladre Runner, although directed by Ridley Scott who is British, is made with US money, US studio, US backing
Compare and contrast Vertigo (Alfred Hitchcock) to Blade Runner (Ridley Scott)
Blade Runner
Stars Harrison Ford and Rutger Hauer
Music composed by Van Grelis
End dialogue of Rutger Hauer was improvised
Harrison Ford said nothing in end sequence
Roy to Deckard at end almost like talking to a pet, RH superior being OR Deckard doesn't think there's any point reasoning because Deckard's a superior being
Lighting - Tyrell's candle-lit room, natural light contrast with fake/synthetic world to show wealth
Owl watched Tyrell die, similar to cat watching Parker die - typical of Ridley Scott
Never seen Sebastian killed - not showing something can make it much more powerful. Similar to horror in that we use imagination to make it scarier. Also possible to show Roy in a better light, if we see him kill the innocent Sebastian before the redeeming end scene our opinion of him is negative
Deckard is morally ambiguous character - almost antihero, similar to Roy, connoting end scene
Dominant Asian culture encourages dystopian viewpoint - alien and scary for western world
Deckard's apartment seems claustrophobic, no wide shots, just bits
Only strong colours are neon - human-less
Dystopian future - something bad has happened
Iconography
Instantly recognisable
Can be polysemic - multiple meanings, but less likely
Signs so powerful we quickly reach a connotation
Ie cowboy hats, yellow cabs, lightsabers, Ring in LOTR
For cowboy films specifically: Stetsons, 6 gun, Sheriff star
Make audience think of one person, place or setting
Can be polysemic - multiple meanings, but less likely
Signs so powerful we quickly reach a connotation
Ie cowboy hats, yellow cabs, lightsabers, Ring in LOTR
For cowboy films specifically: Stetsons, 6 gun, Sheriff star
Make audience think of one person, place or setting
Wednesday, 18 October 2017
Key Terms
- Diegesis - The temporal and spacial location of the narrative, ie when and where its set
- 180 degree rule - In conversation film on the opposite shoulder of each speaker, ie shoulder A left shoulder B right
- Protagonist - person who's story you follow
Lighting
High Key
Floods mise-en-scene with light, everything seems lit fairly evenly. Often realistic or upbeat
Low Key
Leaves parts of mise-en-scene in darkness, can cast shadows. More stylistic. Can connote danger, mystery, downbeat. Used in more serious drama, thriller, horror.
Floods mise-en-scene with light, everything seems lit fairly evenly. Often realistic or upbeat
Low Key
Leaves parts of mise-en-scene in darkness, can cast shadows. More stylistic. Can connote danger, mystery, downbeat. Used in more serious drama, thriller, horror.
Camera Techniques
Shot Types
Two Shot
When two characters are on screen at once (usually a mid shot)
OTS Shot
Over the Shoulder
Used for conversations and looking
Controlled by something called 180 degree rule - make sure opposite shoulders are used
Profile
Framed form side, with eye-line looking away from the camera or offscreen
Directs attention to where they're looking
Cranes/Topshots
Good for establishing shots, can film a whole location from up top
Makes characters seem smaller, insignifiant
Angles
Low Angle
Looking up, camera down
Suggests power
High Angle
Looking down camera up
Suggests vulnerability
Dutch Tilt/Canted Angle
Suggests something is wrong, confusion or disorientation
Common in horror
Zooming in and out/Tracking
Usually camera going in, because zooming in loses focus, instead adjust lens shows focus, connotes being watched/someone looking
Camera Movement
Panning and Tilting
Basic camera movement techniques
Pan left-right
Tilt up-down
Camera is in fixed position and doesn't move
Tracking
In tracking/dolly shots the whole camera moves to allow smooth but limited movement
Steadicam is a camera operator fixed with a harness. Allows for relatively smooth movement and for the camera to follow the action unrestricted
Handheld
No tripod, tracks or harnesses, just the camera operator
Jerky, chaotic movement
Gaining popularity in mainstream media
Gives realism
Lenses
Focus PullWhen you switch focus form fore to back and vice versa
Lenses
Distance and Respective
Wide Angle Lense
Fore-, mid-, back0 in focus, can make distances feel further apart + distortion
Telephoto Lense
Opposite-, smaller-, distance smaller
Youtube Channels
Film Analysis
Every Frame a Painting
The Nerd Writer
Film Riot
The Film Guy
Film Psychology
Cinefix
Filmmaking
Film Skills
Mastershot
DSLR Guide
Every Frame a Painting
The Nerd Writer
Film Riot
The Film Guy
Film Psychology
Cinefix
Filmmaking
Film Skills
Mastershot
DSLR Guide
Production Design
Production Designer is responsible to this, ie the overall look of the film. Includes setting and props.
Tuesday, 17 October 2017
Mise-en-Scene
Translates as 'to be placed in a scene' ie everything in a frame
Character, setting, props, costume
Costume, hair, make up all tell the audience about the character. Personality, circumstance, role etc, and also the genre of the film.
E.g. scars make a character look aggressive, violent
Costumes make characters appear uniform, drone-like, dehumanises them. Ie masks - mystery, whatever's behind it (especially an individual rather than a group) it assumes there's something wrong with them.
Black doesn't necessarily mean evil, could mean they deal with evil, do things rough etc.
Points and angles have connotations of aggression. Curved, roundness connotes gentleness, love.
Verisimilitude
Something that has the appearance of being true/real
Helps get audience into story.
Can be created in lots of ways (sets, props, sound etc.) especially costume where/when a film's set and the setting
Settings
Refers to set+location
Helps create verisimilitude as the place is real
Where the film takes place
Can tell you what the genre is
Like costume, can tell you info about everything and everyone involved
Props
Similar to costume
Can also be an important part of the story (ie Lord of the Rings)
Usually to help verisimilitude
Colour
Can be used in any aspect of mise-en-scene
Can add to atmosphere or certain ideas
Ie blue = sadness, calm, red = love, danger
Hot colours create an upbeat mood, low colours downbeat mood, muted or low contrast colours add to realism
Exaggerated ot high contrast makes film more stylistic
Character, setting, props, costume
Costume, hair, make up all tell the audience about the character. Personality, circumstance, role etc, and also the genre of the film.
E.g. scars make a character look aggressive, violent
Costumes make characters appear uniform, drone-like, dehumanises them. Ie masks - mystery, whatever's behind it (especially an individual rather than a group) it assumes there's something wrong with them.
Black doesn't necessarily mean evil, could mean they deal with evil, do things rough etc.
Points and angles have connotations of aggression. Curved, roundness connotes gentleness, love.
Verisimilitude
Something that has the appearance of being true/real
Helps get audience into story.
Can be created in lots of ways (sets, props, sound etc.) especially costume where/when a film's set and the setting
Settings
Refers to set+location
Helps create verisimilitude as the place is real
Where the film takes place
Can tell you what the genre is
Like costume, can tell you info about everything and everyone involved
Props
Similar to costume
Can also be an important part of the story (ie Lord of the Rings)
Usually to help verisimilitude
Colour
Can be used in any aspect of mise-en-scene
Can add to atmosphere or certain ideas
Ie blue = sadness, calm, red = love, danger
Hot colours create an upbeat mood, low colours downbeat mood, muted or low contrast colours add to realism
Exaggerated ot high contrast makes film more stylistic
Monday, 16 October 2017
Semiotics
Study of signs
Signs communicate info
Could be images, colours, sound, gestures, words, shapes etc. that connote info or ideas
All culturally dependent - therefore mean different things in different contexts
Eg:
In horror, sting instruments mean something is gonna happen, in romance its a sign of emotional intensity
Ie context, genre audience film specific
Eg a No Entry sign is bright red, which connotes danger
Anatomy of a Sign
Two parts:
Signifier - The form a sign takes (e.g. sound, images, words)
Signified - The idea or image the sigh suggests
Some sighs signify more than others - can have more than one meaning or is more open to interpretation.
Films also use signs via micro-elements (mise-en-scene, editing, sound, cinematography, performance)
Ie sunglasses on Neo signify mystery, importance, used to massively humanise people
Or In Scott Pilgrim vs The World the groups looks unique, small, grouped together in their weirdness
Film analysis can be tricky as you can see and hear many sighs at once
Denotation and Connotation
Denotation - Literal interpretation, simplest meaning
Connotation - Inferred meaning, what you read into the signs
Ie Disney logo connotations - mainly from our experience instead of an unbiased view
3 Step Film Analysis
1. Identify micro elements
E.g. shaking camera work, lighting from below
2. Explain what micro-elements suggest or signify
E.g. agents suits connote uniformity group, steady drum has military connotations
3. What effect does this have on the audience?
E.g. This tells the audience the character is not to be trusted
Another way to analyse a micro element is to imagine if it wasn't there, and what effect that would have on the audience.
If in doubt, take it out
Signs communicate info
Could be images, colours, sound, gestures, words, shapes etc. that connote info or ideas
All culturally dependent - therefore mean different things in different contexts
Eg:
In horror, sting instruments mean something is gonna happen, in romance its a sign of emotional intensity
Ie context, genre audience film specific
Eg a No Entry sign is bright red, which connotes danger
Anatomy of a Sign
Two parts:
Signifier - The form a sign takes (e.g. sound, images, words)
Signified - The idea or image the sigh suggests
Some sighs signify more than others - can have more than one meaning or is more open to interpretation.
Films also use signs via micro-elements (mise-en-scene, editing, sound, cinematography, performance)
Ie sunglasses on Neo signify mystery, importance, used to massively humanise people
Or In Scott Pilgrim vs The World the groups looks unique, small, grouped together in their weirdness
Film analysis can be tricky as you can see and hear many sighs at once
Denotation and Connotation
Denotation - Literal interpretation, simplest meaning
Connotation - Inferred meaning, what you read into the signs
Ie Disney logo connotations - mainly from our experience instead of an unbiased view
3 Step Film Analysis
1. Identify micro elements
E.g. shaking camera work, lighting from below
2. Explain what micro-elements suggest or signify
E.g. agents suits connote uniformity group, steady drum has military connotations
3. What effect does this have on the audience?
E.g. This tells the audience the character is not to be trusted
Another way to analyse a micro element is to imagine if it wasn't there, and what effect that would have on the audience.
If in doubt, take it out
Cinematography
The art of motion picture photography
The cinematographer/DP is the person responsible for camera and lighting in film. Could be solo or in charge of a crew.
Camerawork
Shot types and framing
Lenses
Movement
Lighting
Lighting
Colour and contrast
Shot Types
Extreme Close Up (ECU) - Focussed on one person/object
Close Up (CU) - A face or object fits most of the frame
Medium Close Up (MCU) - Head + Shoulders
Midshot (MS) - Waist up
Long Shot (LS) - Can see whole person/object and background around them
Extreme Long Shot (ELS) Person or object is very small, focus on background, also can be Establishing Shot - Sets place of scene
Framing
Where characters and objects are in the shot
Rule of Thirds
Characters or objects should always be on a third - 3x3 grid
Placing space in between characters can show emotional distance
The cinematographer/DP is the person responsible for camera and lighting in film. Could be solo or in charge of a crew.
Camerawork
Shot types and framing
Lenses
Movement
Lighting
Lighting
Colour and contrast
Shot Types
Extreme Close Up (ECU) - Focussed on one person/object
Close Up (CU) - A face or object fits most of the frame
Medium Close Up (MCU) - Head + Shoulders
Midshot (MS) - Waist up
Long Shot (LS) - Can see whole person/object and background around them
Extreme Long Shot (ELS) Person or object is very small, focus on background, also can be Establishing Shot - Sets place of scene
Framing
Where characters and objects are in the shot
Rule of Thirds
Characters or objects should always be on a third - 3x3 grid
Placing space in between characters can show emotional distance
Wednesday, 4 October 2017
Analysing a scene in terms of Mise-en-Scene - The Grand Budapest Hotel 'You're Under Arrest'
Analysing a scene in terms of Mise-en-Scene - The Grand Budapest Hotel 'You're Under Arrest'
Character
At the beginning of this section, there are two characters present, Zero and Gustav. Throughout the film it's made clear that Gustav is in charge due to his large height and confident stance, while Zero is smaller and more reserved in this performance. This is especially evident now as Gustav stands on a chair, giving him even more height and connoting that he is in charge of the situation. He is also closer the camera, which makes him look larger and connotes importance by itself, and also he's facing away from Zero, which shows that he doesn't need to pay attention to the person he's conversing to (possibly showing a lack of respect or that he assumes Zero is paying attention, regardless he is still in charge). Zero on the other hand faces Gustav, making him look up at him and therefore show his diminutive status and size compared to him, and makes him appear subservient and weak, increased more by the fact that Zero is holding an object carefully for Gustav.
A secondary character also appears at the doorway briefly to inform Gustav, his boss, of the events transpiring. The character never steps out of the doorway to reveal his whole body, instead only peaking around the corner showing just his head and parts of his torso. This is important as it shows that the average worker is intimidated by Gustav, to such an extent that they're ready to flee at all times and don't like to appear before him. As a result, it gives Zero a new sense authority, as although he appears to be a similar rank to the other man (ie by his costume), he is capable of not only appearing directly in front of Gustav and directing him directly, but also being wanted or needed by him.
Setting
In keeping with the rest of the film, the setting for this scene appears to be in 1930s Europe (specifically in the 'Republic of Zubrowka', a fictional nation). The technology (ie the lights) appear dated by modern standards, the decor is very reminiscent of the time and other miscellaneous items which add verisimilitude, such as boxes or a ladder, also appear of the time.
However, the setting of this scene in particular is different to all others in the hotel. While the hotel appears to be important and high-end (ie the 'Grand' in the name), with polished wood, brightly lit large rooms and chandeliers, this room is a lot more dingy. The curtain used by the duo is obviously very dirty and old, with frayed edges and mud/muck covering almost the entire thing. The lights are uncovered and look far more functional than the decorative candles that litter the rest of the building, spare chairs and tables are stacked unceremoniously to the back and top of the frame. Is shows the real, messy, hidden aspect of the hotel, and by extension the story as a whole (as it centres around it), and creates connotations of falsity.
Props
Very few props were used in this scene, as it is mainly used for dialogue. The coat zero is holding throughout the scene remains unused until the end of the sequence, wear he returns to the frame to place it, which throws off the pace of the scene, making it appear more random and confusing, an effect Wes Anderson strives for in his films. It also removes some of the apparent urgency the characters have, making the following scene less serious, and it also adds to the character of Zero, showing his determination and commitment to both his work and Gustav.
The curtain previously mentioned were also used briefly, opening the window to show the expression of the characters at their revelation. This was most likely used to draw attention to how grubby it looks, ensuring the audience fully grasps the connotations of secret disrepair hinted by them.
Costume
Zero and the member of staff that briefly appears in the scene both wear purple matching uniforms, the uniform of the hotel. As purple has royal and wealth connotations, it shows the audience that the hotel is for a wealthy clientele (which supports the plot), or that the hotel wants to project the image of wealth even if there is none, which relates to the points above. In addition, the uniform is also used for verisimilitude, as it suits the time period with its hat and jacket.
The Gustav character also wears purple. However, his suit is more expensive, formal, and as a result shows importance while still maintaining that he's related to the hotel. The light purple/lilac trousers also show this while also reflecting his personality - fun, bizarre, sexually promiscuous.
A secondary character also appears at the doorway briefly to inform Gustav, his boss, of the events transpiring. The character never steps out of the doorway to reveal his whole body, instead only peaking around the corner showing just his head and parts of his torso. This is important as it shows that the average worker is intimidated by Gustav, to such an extent that they're ready to flee at all times and don't like to appear before him. As a result, it gives Zero a new sense authority, as although he appears to be a similar rank to the other man (ie by his costume), he is capable of not only appearing directly in front of Gustav and directing him directly, but also being wanted or needed by him.
Setting
In keeping with the rest of the film, the setting for this scene appears to be in 1930s Europe (specifically in the 'Republic of Zubrowka', a fictional nation). The technology (ie the lights) appear dated by modern standards, the decor is very reminiscent of the time and other miscellaneous items which add verisimilitude, such as boxes or a ladder, also appear of the time.
However, the setting of this scene in particular is different to all others in the hotel. While the hotel appears to be important and high-end (ie the 'Grand' in the name), with polished wood, brightly lit large rooms and chandeliers, this room is a lot more dingy. The curtain used by the duo is obviously very dirty and old, with frayed edges and mud/muck covering almost the entire thing. The lights are uncovered and look far more functional than the decorative candles that litter the rest of the building, spare chairs and tables are stacked unceremoniously to the back and top of the frame. Is shows the real, messy, hidden aspect of the hotel, and by extension the story as a whole (as it centres around it), and creates connotations of falsity.
Props
Very few props were used in this scene, as it is mainly used for dialogue. The coat zero is holding throughout the scene remains unused until the end of the sequence, wear he returns to the frame to place it, which throws off the pace of the scene, making it appear more random and confusing, an effect Wes Anderson strives for in his films. It also removes some of the apparent urgency the characters have, making the following scene less serious, and it also adds to the character of Zero, showing his determination and commitment to both his work and Gustav.
The curtain previously mentioned were also used briefly, opening the window to show the expression of the characters at their revelation. This was most likely used to draw attention to how grubby it looks, ensuring the audience fully grasps the connotations of secret disrepair hinted by them.
Costume
Zero and the member of staff that briefly appears in the scene both wear purple matching uniforms, the uniform of the hotel. As purple has royal and wealth connotations, it shows the audience that the hotel is for a wealthy clientele (which supports the plot), or that the hotel wants to project the image of wealth even if there is none, which relates to the points above. In addition, the uniform is also used for verisimilitude, as it suits the time period with its hat and jacket.
The Gustav character also wears purple. However, his suit is more expensive, formal, and as a result shows importance while still maintaining that he's related to the hotel. The light purple/lilac trousers also show this while also reflecting his personality - fun, bizarre, sexually promiscuous.
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