Coen Brothers Auteur Traits

Framework of genres with normal characters as the protagonist, sets up characters but they aren't what you expect (ie western for NCFOM, thriller Fargo, Noir The Big Lebowski - The Dude is the private eye who is inept and in the role accidentally). Low level narrative resolution. All auteur traits of Coen Brothers.
In shot-reverse-shots, we never see over the shoulder but the camera is in the conversation - makes us feel like we're there

Coursework

Narrative twist
Introducing characters
Conflict between characters
4-5 minutes long


Notes
Research

Feminism in Sightseers

Tina takes control of the situation when she tries to initiate sex with Chris. Don't frame her in an attractive way throughout, but in the scene her dialogue, red light, etc. sexualizes her and means she takes control. She takes control of their sex life, which was him being dominant before, but at the end she's on top and strangling him.
At the end, she hooks up the caravan and drives off with it, after being shown earlier in the film to struggle hooking it up
Chris drives narrative at the start of the film (he murders, we spend more time with him at the start than at the end), but focusses on her at the end, she drives it
Earlier on the jokes are at the expense of women (her mum and her being weird/stupid)
At the end doesn't resolve, ends on her hand, means she's done
One of the only films to highlight low level toxic masculinity and it's effect on relationships
Martin - steals attention with manly interests, she's secondary. He contrasts with the horrible people they are, while he's harmless. The other victims we can deal with as they are faceless or have done wrong, but Martin is neither. Also suggests that the other victims are like Martin, but we wouldn't know
Like a documentary at first - humour from representations of nationality. E.g. sitting outside of the caravan in hail is quintessentially British
Murder - Ian and hiker, his murders, glamourized, kind of with Chailey. Aggressive, cinematic, slow motion
Picture of him and her on the bridge, like she planned on killing him
Killing Chailey is the closest to justified you can get, but quickly descends to arbitrary
She's ignored and manipulated by people (mum at the beginning), but killing gives her power. but for him it stops him from being emasculated 'I just want to be feared and respected'
Breaks taboo of women masturbating - liberating + phrasing could be foreshadowing as it's phrased ominously

No Country for Old Men - Spectatorship

Plotting - Coen's very unusual as they don't show certain scenes (Llewellyn getting killed etc.) but also show scenes that we wouldn't usually get to see (the coin toss scene doesn't further anything). Plot not overly concerned with driving narrative
Woman in pool could be any woman, doesn't matter what she looks like because he loves Carla Jean
When's mum's coffin is lowered there's a 'tick' sound, which is the same as when Anton leaves the house at the end from the bike - sonic connection
If most people were plotting the film they wouldn't include Carson Wells as he doesn't really do much



Bell's opening monologue doesn't make sense until the end of the film - first seen as positive but at the end shows that he's being overwhelmed by modernity


Issues raised for spectator:
Low level of narrative resolution/enigma - nothing is resolved. Negotiated reading (Stuart Hall) and Active spectatorship
Encoding certain messages into the film - Llewellyn shown at the start as an outlaw hero (as he's similar to western heroes)
In encoding process, creator encodes certain enigmas for the audience to decode (Barthes) Not solely created by filmmaker, how a film is interpreted is equally to do with the spectator as it is to do with the filmmaker. Once you've made it how it's interpreted has nothing to do with you. Relates to the negotiated reading of the film


Research
Marxist ideology

Metanarratives

The overarching theme of a film

To what extent has film form in Hollywood Cinema changed since the Classical Era?

To what extent has film form in Hollywood Cinema changed since the Classical Era?

Speed
Take length
More long shots
Pacing slower
In classical era speech progressed plot, in modern action progresses plot
Editing
Prevalence of continuity editing
Less editing, instead relying on camera movement
Performance is more theatrical, make use of space
The costumes aren't specific or character defining - i.e Vertigo and Blade Runner


Film form has evolved greatly

Ridley Scott and Blade Runner vs Vertigo

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


Deckard introduced (expositional) without being told anything about him, contrasted with Scotty who presents all the relevant information straight away
Difference in gender representation - especially
Rachel a passively strong character, Priss and Zhora combatants
Even in 1982 still has ideas of toxic masculinity - women like forceful men


Vertigo has no ethnic minorities+
Angles shooting Roy goes from level to low, especially in Deckard hanging over ledge - through smoke, almost god-like
More camera movement than Vertigo
Costume saying a lot more about characters

Vertigo Microfeatures

Music constant and dramatic/atmospheric
Performance overdramatic

High key colour, strange for the genre                                                                                                                                             

Mise-en-scene - shot in studio vast majority of time, costume main focus of the last section but say nothing personal about them (differs massively to Blade Runner)
Editing - loads of cross fades - all scene transitions are fades, loads of long takes

Auteur
Spectatorship




Production Context
Film Form - micro features, narrative etc
Can appear in any


To what extent has film form in Hollywood cinema changed since the classical era (1930s - mid 1960s)
Run by studios, no independent films - look up for homework, how did it get broken down
Contracted by a studio for a certain period of time. Provided lessons to make them create a lot of films later

Is The Grand Budapest Hotel Experimental

Immediately breaks fourth wall
Unique, comic book style visuals
Narration works with dialogue
Obsessive use of symmetry
Storyline is four layers deep - woman reading book, man reading book aloud, Jude Law talking to Zero, the actual story
Stylized title cards
Odd use of swearing - surprising with the childish style of the film

To what extent can your chosen film be classed as experimental?

Study Buddy: Elaine
Write down a list at the bottom of what research you did


Ideas:
1. Non-linearity - basic plot made interesting by the way it's told, relates to 2.
2. Style over substance - stylistic dialogue, glorification of violence, music, stylized subject mattes (ie gangsters) etc. create an aesthetic film which covers up the boring plot
3. Expectations: Casting - Travolta, Willis, Thurman, Wallace as black, Lance as a businessman. Messes with what we expect characters and actors to be + Messes with convention. Relates to 4
4. Plot doesn't have traditional (and once necessary by law - Hays Code) comeuppance for criminals, everything stays the same (Todorov's ideal of equilibrium)



To what extent can your chosen film be classed as experimental?





Perhaps the most obvious part of Pulp Fiction that makes it experimental is it's non-linear narrative. The plot - the events that happen in the film. In fact, this film can be considered an anthology film, as all plot lines in the film are tied together by one person - Marcellus Wallace, and little else. Such an approach to the film essentially covers up the unoriginal, uninteresting plot of the film, making the spectator more interested in it as events often occur without prior knowledge, making the audience want to find out how it happened, the opposite to the usual aproach This stylised approach to writing is very experimental, as Tarantino took the story and placed it in a circular narrative, very different to most film's narratives, especially at the time. A similar idea used by Tarantino, for the same purpose, is prioritising style over substance. For example, the dialogue in the film is very stylised but achieves little - the whole Jack Rabbit Slims scene had no relevant dialogue to the plot at all, and only serves to build the 'cool', stylish aesthetic of the film, again an experimental idea. Examples of this concept can also be seen in music choice - 60s and 70s pop. These examples show the power sound has in a film, and how it can be used to make a film experimental as seen here.

A large part of exeperimentalism is subverting expectation. Tarantino as an auteur does this frequently with his casting choices, of which there are many examples in Pulp Fiction. John Travolta's career was seen as ended, and mainly consisted of rom coms and dancing films, so to play a serious, if slightly comedic, hitman in a drama was massively risky, and as such unexpected. The filmmaker also used this technique to play with established roles/character tropes. Uma Thurman as the femme fatale Mia Wallace drastically differs from the stereotypical portrayal of the role. While still attractive, Wallace's costume (a baggy white shirt and trousers) strays from the standard dress, which immediately points the character out to the spectator as alternative, different, unpredicatable. She is still clearly dangerous - drug use, a controlling demeanor and her unexpectadly intelligent observation ('awkward silences') reveal the potential for manipulation and malice. Of course, this is a staple of the femme fatale character, but Thurman does this in a way that differs from usual -in her later scenes. The frailty and vulnerability shown by her overdose, and the joke she tells to Vince, gives a glimpse past the hard exterioir of the trope, into a deeper, more developed character, yet again subverting expectation. Similarly, diverting from Propp's characters is also something this film does. There is no clear protagonist (although common theory suggests Vince and Jules), the antagonist ranges from character to character, and even incudes other characters (Honey Bunny and Pumpkin's being Vince and Jules), the Princess/Treasure Chest, Side Kick and most others are also ambiguous. So Tarantino made Pulp Fiction experiemental by going against the spectator's assumptions and expectiaitons through the use of casting and charactrer performance.

As a film primarily about crime and the criminal underworld, it doesn't obey the typical structure of crime-based films. In fact, 30 years before it was illegal for crime films to end with the criminals not being punished, as is the case in this film, due to the Hays Code. And while it ended decades before, the code set in place a set of values rarely if ever crossed, which is another reason why Pulp Fiction is experimental. This relates to Todorov's theory of narrative. Instead of the resolution of a new equilibrium being instated, all criminals return to their lives without repercussion (with the exception of Vince), meaning that the equilibrium didn't change at all. The film goes against the idea of narrative resolution typical not only in its genre but in film in general, again experimental.

However, there is also the argument that Tarantino's films aren't experimental, merely pastiche. The majority of his ideas, esepcially in Pulp Fiction, stem from other films, going against the idea of experimentalism - being the first to do something. For example, the Jack Rabbt Slims dance scene is lifted from Federico Fellini's 1963 film 8 1/2, the square Mia made just before is from the Flintstones, and many more. Although homage is a staple of post modernism, it is debated that Tarantino takes this too far, and so his films (including Pulp Fiction) aren't experimental.

In conclusion, Pulp Fiction takes the staples of cinema, and use the audience's concept of this to subvert expectation, an act that makes the film experimental, however, it's argued whether it is in fact the first time these things have been done,. So while there are asepcts of the film which are experiemntal, it's debatable whether the film can be classified as such.

http://uk.businessinsider.com/quentin-tarantino-stolen-movie-scenes-2015-6

Tarantino as an Auteur

Employs long takes, minimal editing, mirror shots and humour, all characteristic to most of his films (Kupść, 1989)

Gratuitous use of violence
Cinematography: Crash shots, long takes, tracking shots. car boot POV shots, mirror shots, close ups on lips and feet
Feet
Long, intense dialogue, humorously dramatic violence, and frequently nonlinear scripts
Late 60s early 70s pop music
Actors: Uma Thurman, Samuel L. Jackson, Christopher Waltz, and Michael Madsen

Zeitgeist Definition

Spirit of the times - defining mood or spirit of a period as shown by beliefs and ideas

Course Marks Distribution

Entire course out of 300 marks
First paper - classical Hollywood 1930 - 1990  - Blade Runner and Vertigo - 40 marks + New Hollywood - BOTSW and NCFOM - 40 Marks + British Film - Trainspotting and Shaun of the Dead/Sightseers - 40 marks, total 120 marks
Second paper - Experimental film and narrative - Pulp Fiction - 20 marks + Documentary and technology - 20 marks + Silent cinema - 20 marks + Global Cinema - Pans Labyrinth and City of God - 20 marks, total 80 marks
Course work - 100 marks

In what ways is Pulp Fiction experimental?

Narrative Structure - almost self referential in that the non-linear narrative makes the storyline obvious, break our suspension of disbelief. Realize when Vince is killed.
Doesn't have a clear protagonist - could be suggesting that we don't need one. Doesn't have a meta narrative - a narrative with an overriding theme (often a binary opposition or dominant ideology), which is the only one of Tarantino's film that doesn't
Doesn't have any narrative resolution - no return to equilibrium (possibly Butch riding off but as he's not the protagonist maybe not). It ends on mid-narrative
Genre Conventions - doesn't have the 'rise and fall' narrative of gangsters films, everything stays the same.
Stylized imagery/iconography - gangsters etc. it does have. Mia as the femme fatale is the opposite to the usual - attractive in an unconventional way, wears a shirt instead of a dress, not v. feminine, however she's referred to as the 'big man's wife' and Uma Thurman was chosen over Pam Greer as the latter isn't submissive
Expectations/Casting - John Travolta experimental - usually plays a dancer, sex symbol, massively different to this role. Gang land bosses thought to be white, Italian men. People's ethnicity in the gang doesn't seem to matter. Bruce Willis experimental casting - should be mid-20s but is older, father-daughter relationship with him and Fabienne
Language, representations and 'shock value' - very stylized dialogue, there to sound cool. Talk about normal things in a very stylized way. Controversy with swearing and racism. Gangsters seen as intellectually thoughtful people (Mia talks intelligently, Jules especially), shown as cool and capable, sophisticated, overriding interesting in popular culture. Women seem juvenile (Hunny Bunny, Favian), while Mia seems strong (although juvenile to a certain degree). Black people shown as powerful (Jules seems superior compared to Vince, Marcellus is overall in charge and the catalyst of the plot).
Post-Modernism - self referential, non-linear, controversial, briefcase is a macguffin - could be replaced easily, the case is what we want it to be
Almost designed for repeat viewings as can notice things you wouldn't at first
Repeated mention of Vince taking Mia out at the start is a red heading for a plot around them
Lance represented as a pseudo-businessman, a salesman not a drug dealer, different representation to normal
Jungle Boogie at the opening credits makes us think of a Blacksploitation film, and then shows Jules after to continue this red herring
First time we properly see Marcellus Wallace is when he's run over - not untouchable like most mob bosses in films
Mysteries set out - e.g. Tony Rocky Horror thrown out the window
At Jack Rabbit Slim's, none of the dialogue is important to the plot. but it sets out the relationship between Vince and Mia
Editing - non-linear, also uses title cards to compartmentalize the film, making us know it's a film. Makes us look at the film from the outside, not immerse us
Sound - Dialogue is stylized and doesn't move on the plot. Very little cinematography to back it up, forcing us to focus on the dialogue
Narrative content - unconventional plotting, what we don't need to see. Sowing Vince on the toilet, also hints at violence to come, dialogue that doesn't contribute or move on the plot. Voyeur shots of Jimmy and Wolf talking about the shots to make Wolf look cool. Only realize we're in a non-linear film when Vince gets killed. We think we can anticipate what the film's about - Vince and Mia running off, but it doesn't

Narrative in Pulp Fiction

Wouldn't work without a non-linear plot, which is often used to make dull films exciting as it gives people something to expect. Parallel editing gives us something to watch all the time to make it interesting.


Loose thread going through it being Marcellus Wallace.



Have elements that other films would skip - conversations about mundane things, Vincent going to the toilet, eating etc. A common trait of Tarantino.
Doesn't have a clear protagonist - could be suggesting that we don't need one. Doesn't have a meta narrative - a narrative with an overriding theme (often a binary opposition or dominant ideology), which is the only one of Tarantino's film that doesn't
Doesn't have any narrative resolution - no return to equilibrium (possibly Butch riding off but as he's not the protagonist maybe not). It ends on mid-narrative
What's important in the film isn't the narrative but the characters

Propp's Character Theory

Analyzed folk tales for their basic plot components
7 character types, not all of them have to be in a film, and one character can perform more than one type:
Hero - leads narrative, usually looking for something, a mystery, does not have to be male. Reacts to 'the donor' and saves 'the princess', often resulting them falling in love

Intertextuality

When one text references another, including film to film

Experimental Film

Loose Definition: Something that doesn't follow convention, often one of the first films to do something, may come out with a negotiated reading, come out of something different
Pulp Fiction
What makes it experimental?
It's controversy is part of the experimentation, e.g.:
Drugs - no value judgment places on it's use
Rape scene
Language - N word, excessive and white people say it
Swearing - always saying the F word
Narrative - non-linear


No score, all sound track. Mainly use diegetic sound. Primarily 70s, some 60s music


Editing:
Loads of fade outs and fade ups in strange places
Only one parallel edit - Marcel with Samuel Jackson


Cinematography:
Few shot reverse shots, only really when there's an argument with Vince and Samuel Jackson
Hitchcock-like shots, positioning


Motif:
3, 2, 1 before stabbing Mia same with putting the gun down
Vince going to the bathroom heralds problems


Film primarily dialogue, which carries people through it


Post Modernism









The idea that nothing is original any more, everything is a copy of a copy etc.
The theory that Quentin Tarantino is the death of post modernism because Pulp Fiction ultimately has style over substance, which is the peak of post modernism - borrowed ideas
Auteur debate whether he pays homage or steals from other film
A critique of social constructs - hierarchy, family, education, the reason why we exist
I.e. the rise of anti-heroes in the late '60s. None of the characters have heroic traits, similarly to Old Country for Old Men
Self referential/aware - knows it's a film - i.e. lets get into character, square. Always recognizes the fact that it's a film
Breaks down traditional ideas of film making
Lacks cohesive narrative
Sets out to be a cult movie
In modernism, dialogue is used to move the plot forward, in post modernism it's used to build character
Areas of intertextuality in Pulp Fiction:
Vince's car is a reference to Carrie
Referencing famous people - Marilyn Monroe etc.
John Travolta dancing, also shot similarly to Saturday Night Fever
Opening scene almost exactly the same as opening of Bonnie and Clyde
All references Buddy picks up is a reference to a horror film
All songs 1970s soul pop music
The way they speak - exploitation
Style of substance - the Prada Handbag of Tarantino's films
Similarities to Reservoir Dogs
Long, protracted dialogue sequences
Doesn't show expected parts - not much action, diner scenes
Same actors
Controversial language
Voyeuristic shots, two shots, high contrast colour
Long takes
Pulp Fiction more non-linear
Using dialogue for dialogue's sake
-
Pulp definition at start of film relevant to how the film looks and is set out
Context of production - early 1990, shift away from social and political structures, sense of re-evaluating the past, cultural exploration: post modern texts, high/low culture blurring, film as collage etc. Independent/mainstream crossover beginning
High/low culture - ballet and fancy stuff vs TV shows, naff novels, films
Quentin Tarantino is a self confessed film obsessive. His films filled with references to other texts, sometimes seen as plagiaristic

Senna

Made immediately before he made Amy, by Kapadia
Similar to Amy:
All new visual footage
Kapadia has no onscreen presence, verbally and visually, makes it seem like there's no mediation, watching it unfold naturally


Is Kapadia's skill taking controversial figurers and making them appear better - Senna as noble and Amy as a victim
Footage used is far less personal than Amy, get less of a bond with him - know Ayrton Senna the racing driver not him as a person, opposite for Amy
Would Kapadia argue that the documentaries were made like that because that's where the story was - Senna with his controversial career and Amy with her controversial life
Can relate to Amy more than this because we were alive at the time

Could be argued that he's a documentary editor/compiler instead of a creator
John Grierson - documentary is the creative treatment of actuality
Finishes like Amy, return to innocence - starting quote and end quote are the same

2 Ways to Achieve Connecting One Topic Area to Another

Auteur to Cinematography

• How different filmmakers use various shots/angles etc. in different ways. Hitchcock's steady, long shots Vs. Scott's quicker, closer ones. There's a relationship between how they use cinematography and what effect/message they want to portray. Hitchcock focuses on voyeurism, thematic part of his auteur theory and relates to cinematography by how he films. Ridley Scott using low key lighting, shooting through smoke or fans etc.

Narrative to Nihilism

• Overarching themes of nihilism in Trainspotting which shape the narrative, contrasted with the optimism of Shaun of the Dead or the light hearted, but still nihilistic, Sight Seers. Characters, structure, colour etc. all impact how nihilism is shown in the narrative. Trainspotting non-linear narrative, shows him in the chase in a negative place, then goes earlier on to show him trying to get better, showing he's already defeated. Choosing normality vs nihilism. E.g. camera angles when on heroin look up, like in gutter.

Spectatorship to Ideology

• How ideology is imprinted on the audience. What the audience can see (restricted or open narrative), how it's shown (cutting away or comedy violence), how showing characters can create sympathy or dismissal of characters (Roy in Blade Runner). Typical ideology in NCFOM that Llewelyn, as a veteran, is invincible, but his dying off screen contradicts this, and goes on to show what he represents as America can also be defeated without drama. Or in BOTSW, is Wink a good father (Marxist ideology) teaching Hushpuppy what she needs to know, or a bad father who doesn't treat her right (dominant ideology), depending on your own ideology effects the spectator. 

Digital Technology to Documentary Theorists (Moore and Broomfield)

• Examples of using various sources, i.e. phones, for documentaries (Kapadia) against mainly one camera storytelling (Moore). Contrasting Amy vs The Future is Unwritten with the availability of footage of them when young and how it affects how their youth is shown. Kapadia can use it to place us on Amy's side. The significant thing is not the Kapadia uses the technology, but the difference in which Kapadia seeks to gain an effect from the use of technology. He basically shows a fictional films narrative by creating antagonists, narrative structure etc.

How far have developments in digital technology had an impact on your chosen documentary film?

Download form for research


Mark in red pen


Marked /40





 Mobile technology - citizen journalism - availability of phones and other transportable/accessible recording hardware means


Advantage Kapadia takes with digital technology isn't the same advantage Broomfield and Moore uses it. Kapadia and Moore both push an ideology but Broomfield doesn't

How Far have developments in digital technology had an impact on your chosen documentary film?

In Amy (2015), Asif Kapadia takes advantage of the development in digital technology by accessing home video/personal clips, TV broadcasts and other footage to be able to create his trademark 'True Fiction' narrative structure.

This is perfectly shown by the very beginning of the documentary, as it starts with a home video of Amy Winehouse and her friends, having fun and singing. This short clip sets the audience's expectations for the rest of the film - showing them that this is documentary about the personal life of Amy Winehouse, from before her fame, and also shows Winehouse as a fun person who is immeidiately personable and relatable. It starts to construct a narrative via a connection to the audience by establishing time, place and character, an essential part of story. Another examples of this is the use of previously unseen footage of Winehouse on the way to her first recording session, recorded by her friend and manager at the time Nick Shymansky, which also showed her personality, as well as setting up our understanding with some of her relationships with people. The candid, unprofessional look of the videos is instantly relatable as something we all create and share (especially recently on social media), which helps to create an informal more realistic theme to the videos. So Kapadia uses digital technology to create an emotive story that explains her personality and makes her relatable, which can be seen from the beginning until the end of the film.

Building on my previous point, Kapadia uses the home videos from family and friends (available due to advances in digital technology) to push his ideology/opinion on the subject. Footage showing Winehouse's spiral into drug addiction, self harm, bulimia etc. is shown in almost graphic detail. This gives the audience the idea that she was a victim of fame and people around her; not to be blamed for her death, which is clearly what Kapadia himself believed while contructing the documentary. In addition, editing is also used to reinforce this ideology, with interviews being placed over the top of the emotive home video imagery to create an overall feeling of empathy, especially as the interviews were often from family and friends expressing sadness at the position she was in, and also viewed her as a victim. Kapadia uses footage not available without advancements in digital technology to enforce his own ideology, which effected the film in that it was able to show Kapadia's ideology easily and subtly.

Advancements in digital technology mean that the ability to record video is widespread. As a result, it's easy to find, and as Kapadia has shown use, multiple recordings of an event to show different perspectives. For example, at the famous Belgrade Concert where Winehouse was too intoxicated to perform, multiple sources were used, e.g. videos from the crowd where you can hear people complaining, to official TV footage of the event. This allowed the viewer to get different opinions on the event (ie the complaining in the crowd), which may shape the opinion of the spectator. These perspectives may differ from the dominant ideology of the film and/or society, which gives the documentary more depth and detail than it may first appear. In addition, combining these alternative perspectives with various interviews overlayed on top (as seen in the documentary in this scene, with friend Lauren Gilbert and Winehouse herself) about the event, it serves to create an even more varied view of the sitation, and as a result allows the audience to make up their own mind on it. Advancements in digital technology affected the documentary in that it allowed the filmmaker to show, and let the audience debate between, various perspectives quickly and easily.

In conlusion, advances in digital technology have allowed Asif Kapadia to develop Amy Winehouse's 'character' in the documenatary, making her more relatable and to the audience, while also giving the audience the choice to make up their own decision based on varied sources.

Documentary Theorists

Michael Moore
Bowling for Columbine - 2003
Farenheit 9/11 v- 2004
Sicko - 2007

Left Wing filmmaker
Appears in his films
Clear bias against capitalism
Bowling for Columbine - capitalism create fear for profit
Confused narrative, all over the place
Emotive but irrelevant points
Finishes on a low, manipulates you into fearing the system, if it was a narrative film would've finished on K-Mart banning the bullets



Nick Broomfield
Broomfield shows everything but doesn't really shape into a narrative - shows his investigation to make it genuine, not to make points.
E.g. in Bowling for Columbine - argued against guns, racism etc. but didn't focus on the event

Asif Kapadia
'True fiction' narrative structure, coined by him

Sightseers

Directed by Ben Wheatley
Jump cuts
J Cuts


How would we apply feminism to this? Research: Male Gaze


Interesting juxtaposition between typical British tourism and serial killing
Feminist approach to film:
Tina plays the part of the defeneless woman. In fact, this point is reinforced by her childlike attitude, sheltered background and naive outlook on the world. This shows a patriarchal theme. However, subtle hints, combined with the ending of the film, point to the opposite. Chris follows Tina's suggestions and wishes, not instructions, portraying the stereotypical view of women and their role in the household. However, all these suggestions have impact, and are self serving to her. For example, suggesting Chris writes down his murders connects him to the crimes while giving her an alibi, which ties in aptly with her possibly planned 'suicide' trickery, leading to Chris' death not hers. It all suggests to Tina planning out the trip, with the end goal being murder, contrasting with her spontaneous murder of the runner.
Chris encompasses hyper masculinity - aggressive, domineering etc. Oppresses Tina.
'She was getting married' criticizing Tina for killing Chailey. Sees himself as almost a heroic figure, especially with the dream sequence. But gets attacked by the woman, predicting.
'Chailey' as a name, chavvy, slaggy names - criticizing women and their way of life she deems lower than her - contrasts with Tina's knitting and reserved life. Tina doesn't have a go at Chris for kissing Chailey, 'stand by your man' logic.
When Chris goes off, Tina instantly resorts to cooking for him. Traditional women role.
The mundane life of caravanning, combined with showing him plugging in, the toilets and shower etc. immerse us.
Men have the idea that the wrong they do serves a purpose, while women do wrong when they lose their temper, but subverts this at the end.
Debatable who is a muse to who. Creativity is tie to nature, and as the film progresses nature shown becomes wilder in landscape and weather.
Chris murders to gain control, Tina murders to lose it/Chris murders to feel empowered, and so can't escape what he resorts back to, while Tina goes to escape.
Comparing the first and last images of Tina - at the start, she's hiding behind a door, timid, not even the first person shown. Compared to at the end where she's smiling, standing high up - more confiden. Gone by being affected/controlled by someone to affecting/controlling someone


Research Sightseers
-
Talk about the fact that it's British, not Hollywood. It's therefore less stylized, key elements are more expressive than Hollywood. British films also focus on themes of British Realism more (Martin Scorsese says social realism is Britain's greatest gift to the world), which is derivative of Italian reaism. Seem to like to link in to 'ideology' in a different way - binary oppositions, ideaology of the tine etc. British film ideology tends to be more critical of society, cynical
Talk about Ben Wheatley and his desire to include elements ofgothic horror in a contemporary context - ie Hammer Films, which he sees as traditional British films
Postmodern setting - more realistic approach on Bonny and Clyde. Ie Natural Born Killers
Get in narrative themes of feminism, love and relationships - immediately go from honeymoon stage to old married couple, having sex all the time to when his friend gets in the way and damage their relationship to sitting outside the caravan in the rain like old people, also shows women in the relationship approaching power then being pushed back down. Violence theme - solution of problems, relatively little repercussion, easy
Number of different ideological frameworks for how to look at the world and in the films, got to look at the films through themes. The ideology that we look at it through and comes out of it is feminism. Ie women are oppressed in patriarchal societies
Narrative contrasts the almost primitive violence of Chris and the idea of serial killing with the mind-numbing boringness of reality
WE ATTACH ONE IDEOLOGY TO EACH FILM

Documentaries

Some documentaries as entertainment and education when they're just entertainment - i.e. Undateables. Real life imitating art


Good documentaries to watch:
Grizzly Man
Supersize Me
When We Were Kings
The Act of Killing
Spellbound
Sicko


The Future is Unwritten


Amy
Features a lot of intertextuality (referencing other media), i.e. having celebrities on it to talk about her. Doesn't rely on prior knowledge of people, unlike The Future is Unwritten.
Focuses on personal life not music to create an ideology of tragedy - mediation


Amy Vs The Future is Unwritten
Amy felt constructed, attempts to add verisimilitude


Lift




Purely negotiated reading, not lead down any path.


What we take away from a documentary is not what we see, but what we feel and think about, how it effects our outlook, which is the opposite of narrative film.


It's arguable that we can only capture our own reality for documentary - as reality depends on the perceiver. This brings up the question 'can documentary show the truth of a situation?


John Grierson - documentary is the creative treatment of actuality (what's actually happened)





















































Not easy to get an accurate representation of someone in 30 minutes, people are a lot more nuanced than that


History
Pre 1900: films that showed events taking place
1920s onwards: the romanticized form of documentary. Staged scenes, director controlling action
1940s: propaganda documentary


So ideology is present, even when someone is trying to represent 'reality' - we all define our own reality


Night Mail
Made in 1936 - documents overnight delivery
Huge work of artistic merit, but how accurate? Some studio use and set ups means it's not accurate
As time has gone on, the need to inform and educate has been, to some extent, overtaken by the need to entertain
Cinema Verite
Relies upon technological advancements

• Small crews - in modern documentaries there's usually camera/director, sound/editor and presenter
• Portable equipment
• Quiet equipment
• Cheaper film stock

Traditionally, gives the opportunity to follow an individual/group through a situation, without interviewing ir obviously intervening, filming a large amount of footage
Edited into the finished product
How much of this is 'real'? How much is the creation of the editor
Modern Age
Rise in digital technology
Everyone has a camera - we have more footage of every event
Also can switch from different types of footage with digital editing where we couldn't before
Change in form from verbal to visual
Editing is now the most important aspect - where ideology is formed. Process of focusing, organizing (putting them in order to create narrative) and selecting material (where does the camera want us to look)
Media being used is documentary film - the way we work  within its limits and how they affect the way we choose our material is called mediation, which = ideology


How does this use of technology - clips, assist Kapardia in getting his preferred reading across for Amy?
Broomfield shows everything but doesn't really shape into a narrative - shows his investigation to make it genuine, not to make points.

Trial Exam Feedback

What went well:

• Introductions
• Focussing on answering the question
• Film knowledge generally good (those who had clearly done extra research really shone out here)
• Timing
• Analysis was generally good with some exceptions

Even better if:

• Theories (narrative, binary oppositions ideology etc.)
• Key Terms
• Use of key elements of film form
• Sometimes too descriptive as opposed to analytical
• Wider reading needed

Beasts of the Southern Wild Production Context

• All non-professional actors local to South Louisiana - no star persona - believability, verisimilitude
• Scavenged for parts for props from area, e.g. Wink's house made out of a submerged bus - goes with theme and setting of film
• Used practical effects for everything except final scene with Aurochs - got a bunch of university students to make it
• All location shooting, no studios - makes it more realistic and believable
• A lot of these techniques used by Italian Neo-Realism
• Cut out multiple scenes, including:
• Scenes where character's talk about Hushpuppy's mother - where she it etc - as they felt that the mystery was more powerful
• Scenes showing the relationship between Wink and his friends (Jean Baptiste, Juarez etc.), Hushpuppy and the girl group - they decided that it took away the focus from Wink and Hushpuppy's relationship
• Scenes showing characters preparing to leave the Bathtub - adds ambiguity to the ending (ie where are they walking to?), adds to spectatorship

Ideology in Shaun of the Dead

Binary opposites:
Living vs Dead
Adventurous vs Mundane
Change vs Stagnation
Living vs Surviving

Are we really living? Should be content with our lives, what matters is those closest to us
Repetition leads to apathy
In our own bubble

Made by and for Generation X - late 60s until mid 80s

Linear narrative - progression of Shaun - no one else changes as a character
Parody of zombie films so has to follow same chronological order

Fear of technology - Shaun is still a child due to technology

Films with stronger ideologies tend to make deeper connections to the spectator. How far do you agree? Refer to Shaun of the Dead and Trainspotting

Intro
Example of ideology and it's effects + another related example - Shaun of the Dead
Example of ideology and it's effects + another related example - Trainspotting
Example of ideology and it's effects + another related example - Shaun of the Dead

Example of ideology and it's effects + another related example - Trainspotting

In this essay I will evaluate the concept that the stronger the ideology, the more it connects with the spectator, using two contemporary British films - Trainspotting (1996, Danny Boyle) and Shaun of the Dead (2004, Edgar Wright).

At first glance, Wright's Shaun of the Dead appears to be a simple comedy-horror film. However, upon closer inspection, SOTD's ideology pulls into focus the lives, and quality of life, of everyday people in contemporary Britain. The characters, in particular the protagonist, Shaun, represent the average 20-30 year old in mid-2000 Britain. The target audience - people of similar age and societal position who live similar lives, can therefore relate to the characters easily, and as a result receive the ideology behind the film, easily as well. One of the implicit binary opposites (Strauss) in this film is Adventure vs Normality. For example, at the end of the film Liz (Kate Ashfield) plans with Shaun (Simon Pegg) to go to the Winchester later that day, even though previously in the film a major catalyst of the story revolves around her hatred of the Winchester. This represents a changing of perspective in the character, where thanks to the previous fantastical/adventurous events (the zombie apocalypse is a common fantasy) she has reevaluated her life and has come to the conclusion that it's the 'normal' aspects of her life - a normal pub, average boyfriend etc., that she values the most. This is further shown by Shaun requesting two sugars in his tea for the first time in years and Liz remarking 'ooh adventurous' - people can find 'adventure' or a break from normality in their life through their average lives. An ideology such as this resonates with the target audience who can be assumed to fantasise of escaping normality, as it shows them the value of their everyday lives, as it's being clearly shown to them with the lives of the characters. As a result, with this example I agree with the statement that films with stronger ideologies make a deeper connection to the spectator, with the caveat that more implicit ideologies require a specific target audience to fully appreciate and relate to the meaning.

A prevalent idea in modern society is that we as a society have numerous dominant ideologies, which are reflected in the laws and rules we follow. For example, the Good Samaritan concept, laws surrounding theft, drug abuse, violence etc all reflect what we as a society believe. However, Trainspotting challenges this concept with the ideology that there's an undercurrent of depravity in our culture - everyone's morally reprehensible. The overdose/Perfect Day scene summarises this perfectly. Even though Renton (Ewan McGregor) is clearly close to death, the taxi driver literally leaves him in the gutter upon getting to the hospital, dragging him unceremoniously out onto the ground and taking his pay before leaving. Despite the fact that the film draws attention throughout the film to the mercenary mindset of the heroin addicts, showing a normal civilian like a taxi driver - someone everyone in the audience has interacted with, in a comparable light to the addicts it paints a picture that everyone is the same; apathetic to all others, selfish, ruthless. Not only is this counter to the dominant ideology of society, it goes against the core of the spectator's assumed beliefs. I think that this creates a deeper connection with the spectator, as it forces them to call into question their own beliefs and values and compare them to those presented to them.

However, there are some examples which would lead me to disagree with the statement. E.g.

Trainspotting was the first film since the 1960s to present British working class people/culture to the wider audience, as prior to this Richard Curtis-esque films were the norm - Four Weddings and a Funeral etc. Middle class London. This Boyle goes beyond the idea of showing a different aspect of British society, he actively follows an anti-English/anti-London ideology. For example, Renton, in his 'It's shite being Scottish' rant the English as 'effete'. The word summarises the Curtis perspective of England perfectly, showing the stark contrast between the reality of being working class in Scotland in comparison to the typical London lifestyle shown in British film. This would be relatable to a large portion of the target audience, as they would also be working class and possibly disillusioned with their county's representation as they don't relate to it either. In addition, the use of the word 'effete' shows Renton is a different light, as it's a relatively obscure word assumed to only be used by the educated. It shows the spectator that even the portrayed demographic, working class Scottish and addicts, aren't as they seem, going beyond the stereotype of uneducated, useless etc. Another example of the anti-London/English ideology is Renton's opinion of his move to and real estate job in London. The montage introducing the move is similar to a travel advert (something Boyle aimed for), making London appear idealistic, fun, positive. However, Renton describes London and his job there as 'cheating, scamming, fragmenting, breaking... there was no such thing as society and if there was I had nothing to do with it'. Such a description is directly comparable with what society assumes (and what is shown in the film) is the lifestyle of a heroin addict. The comparison shows that regardless of the position in society, and regardless of whether it's in Edinburgh or London, there is still lying and cheating and stealing, which contributes to the anti_ ideology, as it shows that although London is shown romantically the middle class lifestyle associated with it is still as negative as that of a heroin addict. I think that this would create a deep connection with spectators as they relate to the characters and their position in society, and seeing the other half of society being described as worse/equivalent to them would create a deep connection. This is evident by the 'Cool Britannia' culture that was prevalent at the time, and that Trainspotting kcik-started the 'heroin chic' trend of the late 90s.

In conclusion, I agree with the statement, however it only applies to the target audience as they're the ones that can relate to the deeper ideology as it applies solely to them. 

Narrative

How does a film tell a story?


Story can be split in two ways: Story and Plot


Story = everything that happens
Plot = what filmmaker chooses to show you


e.g. in BOTSW, it could start at Hushpuppy's birth


Basic storytelling tools:


7 Story Types
Monster attacks, hero steps forward with a side kick + helper
A hero is doubtful of abilities and rejects destiny, then embraces goal and becomes hero
Flawed character meets woman of dreams, overcomes flaw and becomes a better person, fall out and separate before reuniting at end
etc.


Conventional Narrative
Narrative has cause and effect with an overall trajectory of enigma resolution
NCFOM doesn't have linearity - Anton taken out by accident etc.
The trajectory is what the plot is aimed for
Enigma resolution is fixing a problem


Most narratives focus on a goal driven main character
Character has goal they need to complete - a quest
Usually a time limit to complete the goal


This narrative is based on a series of cause and effect events


Syd Field's 3 Act Structure
Act 1: Set up - usually first 1/4, learn about world, incident that disrupts normality
Plot point one - an event takes the plot in a new direction and ends Act 1 Anton killing two associates


Act 2: Confrontation - usually next 2 1/4s, hero undergoes development, improves skills or awareness
Plot point two - ends with another major plot point, sets up Ac 3, Llewellyn dying


Act 3: Resolution - usually last 1/4 films climax


When in Active spectatorship, narrative isn't clear, so the plot points can vary depending on perspective i.e. BOTSW a plot point 1 could be Wink in hospital gown or the flood


Claude Levi-Strauss - Binary Opposites
All narratives about binary opposites

Good vs. Evil, Man vs. Machine, Man vs. Nature, Civilization vs. Wild, Loyalty vs. Betrayal
Useful for identifying themes, which effects audience therefore spectatorship
The type of spectator you are governs with binary oppositions + themes you see
Blade Runner: Slavery vs. Freedom, Man vs. Machine, Duty vs. Morality, Man vs. God/Father vs. Son
Vertigo: Perception vs. Reality, Money vs. Morality, Man vs. Himself, Loyalty vs. Betrayal
No Country for Old Men: Rich vs. Poor, Individual vs. Corporation, Old vs. New
Beasts of the Southern Wild: Civilization vs. Wild, Utopia vs. Dystopia, Nature vs. Artifice, Childhood vs. Adulthood, Imagination vs. Reality, Freedom vs. Responsibility


Todorov's Theory of Narrative
Most conventional films follow the structure
Equilibrium - Normality in the world
Disruption of Equilibrium - Something changes the status quo
Recognition of Disruption - Characters recognize the disruption
Attempt to Repair the Disruption - Making it right
Equilibrium - Doesn't have to be the same as before, but disruption ended


Alternative Narratives
Jean Luc Godard - 'I agree that a film should have a beginning, a middle and an end, but not necessarily in that order'


Some narratives do not follow this basic structure. Called 'Alternative Narratives'


Some narratives are out of the sequence or disjointed. Tell the stories in the wrong order or use flashbacks


Can go further by not having logical order to story


Some narratives are made up of little short stories - called 'Episodic Narratives'


Omniscient or Restricted Narratives
Omniscient - Audience knows more than the characters, great for tension + suspense (i.e. coin toss in NCFOM, we know more than the petrol station employee)
Restricted - Only know as much as the characters (usually protagonist)
Linear or Non-Linear Narrative
Linear - Show events in chronological order)
Non-Linear - Not chronological, via flashbacks, montages etc.
Open or Closed Narrative
How the narrative ends
Open - Audience is left wondering what will happen next at end of film. E.g. a cliffhanger
Closed - Narrative ends with a definite ending where everything is resolved 'happily ever after'
Single or Multi-Strand Narrative
Single strand - Only one story in film, follows protagonist
Multi-strand - When the film has more than one story, involving several characters of equal importance
Enigma
A riddle or puzzle to be solved
Most narrative driven by an enigma that drives film. Introduced when equilibrium is disrupted.
Keeps viewer guessing interested story. Not answered until end.

Trainspotting

Main focus of British film is ideology (nihilism and a bit on addiction) and narrative

Controversial

Released in 1996
Directed by Danny Boyle, considered his and Ewan McGregor's breakout film
Nominated for Best Picture Oscar, won Oscar for Best Adopted Screenplay from Irvin Welsh - Trainspotting

Kick started 'Cool Britannia' along with other British films which inspired pride in British culture

Inspired heroin chic

Both surreal and realism
Cinematography to nihilism

Which comes first, nihilism or heroin? Is there any ideology in nihilism at all? Or is it just addiction

Ideology in Trainspotting

Everyone's morally reprehensible - taxi driver ditching Rent Boy, Diane blackmailing Renton into a relationship
Sticks to the dominant ideology that 'addicts are bad' but shows that its to do with their addiction not them as people



Anti London-Centric media representations:
First time since 1960s we've had representation of working class British people - before that it was Richard Curtis films - middle class London was the worlds view of Britain, shown by Renton describing the British as 'effete'
Challenges notion that London is the centre of the world, high vs pop culture - linked to Cool Britannia

Colour palette - dark but high contrast colours - red=danger, green=healing

Called Trainspotting because it's a hobby that no one else understands why you'd do it, you're ashamed to admit it etc. + you get 'track marks' on your veins when you inject heroin
Honest representation of heroin - challenges the view that junkies are passive victims
See loads of addicts - Begby alcohol/fighting, Renton's mum's Valium, Tommy exercising. In society there's power, attention, wealth, shopping, work addictions

Binary oppositions:
Addiction vs sobriety
Passivity vs choice
Culture vs depravity
Civilisation vs wild

Scenes showing addiction:
Toilet Scene - pills glow pure white while everything else is brown, even though they wouldn't realistically be clean
Bar Scene - Begby putting knife down, needs a quick fix of violence, but doesn't need the knife but is willing to use it
Knife Scene - Spud gets cut, repercussions of addiction harming others, last straw for Renton
Working Out Scene - Tommy's addiction to fitness

Anti-British scenes:
Renton's Rant - Why being Scottish is 'shite' (down to the English) and why the English are worse
Describing his London real estate job (the epitome of what life in London is/represents) as 'cheating, scamming, fragmenting, breaking... there was no such thing as society and if there was I had nothing to do with it' - directly comparable to the lifestyle of a heroin addict
Judge was English - us vs them, English in position of power
Nihilism - apathetic about situation, life, goals, drugs
Can't discuss the significance of Trainspotting without discussing Cool Brittania


Postmodern - style over substance ie sinking into the carpet, James Bond intertextuality especially with Sean Connery who's very pro Scottish, toilet scene. This gives us ideological views of drug addiction
WE ATTACH ONE IDEOLOGY TO EACH FILM

Spectatorship

A spectator is an individual member of the audience

Two types of spectatorship:
Active - Requires thought, effort, resolve enigmas myself, not everything obvious
Passive - everyone walks away with the same reading, little effort, general good/bad

Blade Runner is Active - not sure what it's really about, character roles are mysterious
No Country for Old Men is Active - does things you don't expect, changes protagonist

A good way of telling if it's active or passive is what you take away from it

Stuart Hall - can get one of three readings from a film:
Preferred - Reading film maker intended you to get, passive is usually this
Oppositional - reading opposite to whats intended
Negotiated - accepts some but not all of the film, active usually this

Different readings:
Experience, film persuasion, age, culture, own interests, societal opinions, conventions used to

Positioning
Where foes the narrative position me? (ie if Tarantino directed NCFOM we'd like Anton), who?
Achieved through story, POV shots

Ie westerns
Metaphor for American foreign policy - ride in, kill someone, leave

In About a Girl - spectatorship as we're a friend

What drives the story in Beasts of the Southern Wild?
Hushpuppy/ Goes looking for mum and dad, sets fire to house etc

What drives the story in No Country for Old Men?
Anton. Llewelyn up to when he picks up the money. Bell never. Event driven narrative

Ideology in No Country for Old Men

Llewellyn (protagonist) is a Vietnam war veteran, but is flawed, while usually they're undefeatable (ie Predator, Commando)
Typically one man can win and make a difference, but he dies
Good always wins, evil loses, but Llewellyn dies, Ed-Tom gives up and Anton walks away with the money
Realism vs myth - reality is brutal
CHANGE AND CHANCE - Capitalist change, society going towards it, and poor people not having a chance - Marxist ideology
Money is the front of all evil
What it means to be a man - violence solves nothing

Context of Setting
America in the 1980s
Went from liberal 1970s to a new climate of reactionary attitudes
Reagan got into power, brought with him an era of 'New Right'
Anti government ideology
Cold war at it's height, arms race
Reagan: Aggressively capitalist government, relatively militaristic for the first time since the Vietnam War, a growth in a new form of conservatism, right wing ideologies become stronger and more mainstream - imagery of businessman changed
Serious rise in drug culture. In 1980's armed robbers were still at the top of the criminal food chain, and as the prison time was only 4-5 years for most offences there was a code of silence.

Society
Fragmented society - young and old, left and right
Cut backs in government spending coinciding with factory closures, many communities in economic collapse
Older industries cutting down
Rise of Corporate America, more personable companies exert a strong influence on everyday life, reward effort, strong hierarchies, seen to be morally dubious/borderline criminal
Greater stress on individuals rather than community, selfishness and greed admirable, self improving qualities

Cinema
Blockbuster risen in significance, large scale event films with simplistic plot lines dominate the cinematic landscape (Stallone, Schwarzenegger)
Era of action heroes, solve all problems with violence, seen as morally correct, ends justify the means, individualistic and uncompromising


No Country for Old Men explores and critiques these dominant ideologies, using each of the three main characters to confront the changing face of America

Anton being the corporations of America is summed up his last scene. Even freak accidents like a a car crash (or a market crash) don’t stop them. They will even take the shirt off someone else’s back to rebuild, their inhuman ability to grit their teeth and walk through the pain keeping them going. They suffer no retribution from the law, as they have already escaped, covering their own backs, possibly through the manipulation of those below them.

Llewelyn Moss
Blockbuster character - cinema section. Also represents the people on the fringes of society, the underclass. bourgeoisies

Anton Chigurh
Corporate America - aggressive - New Society section

Sheriff Bell
Communities dead - old society section. Police were still blue collar in the 1980s and so represents proletariat - gets things done by talking to people.
The man in the coin toss sequence is the people (family owned business, family minded), Anton is capitalism threatening to destroy it, the coin, ie money, is how its done

Ideology in Blade Runner

Explicit
Pro-humanity
Future gets worse - dystopian
Fear of Asian/Japanese culture
Freedom
Man vs Machine
Isolation
Dystopian future, negative ideology, plays on fear of time about nuclear holocaust

Implicit
Humanity can be achieved by things other than human beings

Ideology

A set of views and ideas and values that are held by a society or a group within society

Societies have dominant ideologies - lying is bad

Karl Marx - the problem with society is that we changed from the ideological to the material

Not all ideologies are true

Different groups have different ideologies

Ideology falls in to two different categories in film:
Explicit
Films like superhero, war, westerns - violence solves problems
Good vs Evil
Love will conquer all - Rom Coms
Golden era Hollywood reenforces dominant ideology
Implicit
Harry Poter films - equality, chosen one isn't nice, shouldn't judge on impressions etc.

Some films appear to be neutral in terms of ideology but always will have implicit ideology

Echo Chamber
Surrounded by own views and doesn't listen to others

Things that contribute to a film's ideology:
Genre
Context of production (time, place it was made)
Target audience
Diegesis (setting)
Perspective of audience
Dialogue
Ending/resolution
Ideologies and views of crew
Characterisations (think about film behind a different character)
Pace
Narrative

Binary oppositions for set up in the narrative will set up the ideology

No Country for Old Men - Overview

Directed by Coen Brothers
Released in 2007, won the Academy Award for Best Picture
Not a western in the traditional sense, but uses themes and comments on the typical depiction of westerns

Coen Brothers very well known for subverting audience. Assumed he'd get away with the money but didn't, changed protagonist to Ed-Tom Bell

Quite anti-violent, more real

Themes of:
Change
Chance
Morality

Gives us ins to the following areas (within spectatorship):
Requires spectators to be active - not giving emotional queues via music, no clear cut protagonist etc. Pushes us to talk about readings. Beauty of the film is that it has no preferred reading (even Anton has a code he sticks to - chance and promises)
Editing - narrative, spectatorship - auteur trait of the Coen's - they have the ability to make a normal scene extraordinary and the extraordinary scenes ordinary


In terms of being about sheriff Bell, there's a real collision between what he's used to and what he's not. For example, he rejects working with the DEA agent, he doesn't want the vehicle checks on the Mexican vehicles and he doesn't have radio when he finds Llewellyn. He goes back to the room to see if he can because he's scared, when he's about to go inside they show Anton to show what he's scared off, even though he's not actually there.

Beasts of the Southern Wilds

Behind the child - high colours, low perspective/POV, doesn't really explain much, like what the character experiences. Only effects change at end. Everything colourful and vibrant - fast cuts show this

Active spectatorship
Question the dominant ideology
Dislike the people over the levy, who are us
Don't value modern medicine 'plugged in the wall'
Once with nature, dank, uncivlised but happy - makes us think about the way we treat children and childhood

Positioning
Camera always at a low angle
Narration - Hushpuppy's POV. Almost replaces dialogue. Doesn't tell her whats happening but how she feels - her emotions. Not expository. Rationalising/talking to herself, not audience. Doesn't actually know whats going on, sets up childish narration by talking about animals 'pooping'. Ie brother - is she her mum + when Wink comes out of hospital she assumes he's wearing a dress + bracelet

A lot of enigmas aren't resolved. Is it her mum, are the Aurochs real?

One flashback with Wink's perspective. Went from thinking that he's possibly an abusive father to being a depserate figure, knows he won't be around for much longer.

Spectator response
Non-professional actors make us see characters not actors
Spectatorship can make you think about loads of different things - slightly different negotiated reading


Specatorship - write about active and passive, and find sequences that switch between them. Talk about identification and alignment of narrative positioning, audience expectations and how it plays on spectatorship, spectatorship is ideological and so depends on the individual on what they'd get (ie what they've watched and where they're from), spectatorship issues in terms of what is real and what isn't, is the setting good or not

No Country for Old Men - Opening Scene

Sheriff rambling about the past (as old people do, sets up his age)
Talked about how old sheriffs didn't need t have guns, but he has to now - dangerous
All static shots until Anton walks onto screen. Sheriff doesn't want things to change, but it's out of his control
Anton killing policeman - gets pleasure from killing
Invitation to compare Llewellyn and Anton as they both say same line soon after each other

Performance

Things I expect from a good performance:
Change in characters, and to be able to tell when they change
Something relatable I can find meaning out of
Needs to be believable - help in suspension of disbelief
Can convey emotion, hopefully without them stating it
Need to see character not actor

Physical Expression

Movement - Rachel's movement like a doll, Priss dying, Roy moves slowly

Individual body language - Norman always eating in tense moments

Use of props and scenery - Deckard holding gun

Vocal Delivery

Tone - changes how a line is shown (emotion) - Roy's speech from forlorn to angry

Speed/Pace - a slow delivery shows calm, power

Emotion - how a character feels

Accent - Relatability - This in England

Contrast delivery with content of whats being delivered - juxtaposition

Interaction

How the actors 'connect' with each other - Grease Travolta - Zuko

How do they react to/around each other - Batman + Robin

What do you learn from their interactions - Rachel forced scene

Staging and Choreography

How have the characters been positioned in the shot?

How much freedom of movement do they have?

How naturalistic is thei style of movement?

What do you learn from their movements?

Western Genre Research

Films of Note:

The Great Train Robbery )1903) - first western

Fistful of Dollars (1964) - made Clint Eastwood famous

The Good, The Bad and The Ugly (1966) - Clint Eastwood

Tropes:

Protecting land

Conflicting with Native Americans

Showdown at high noon

Demsel in distress

Building an 'empire'

Themes:

Revenge/retribution]Redemption

Nomadic lifestyle

Lawlessness

Honour

Justice - personal

Influences:

Medieval knights

Samurai

Film noir

Influenced:

Star Wars

Mad Max

Eastern Bloc - Red Western

Film noir

Actors:

John Wayne

Clint Eastwood

James Stewart

Gary Cooper

Charles Branson

Lee van Cleef

James Coburn

Costume:

Stetson

Revolver/6 Gun

Winchester Rifle

Bandana

Buckskins

Poncho

Spurs

Moden Revisionist Subgenre

Typically made post WW2 - 60s/60s

Had a more morally ambiguous protagonist ie bank robbers

Right/wrong is less clear

Often made to criticise American values, capitalism etc

Clint Eastwood known for using this to criticise the classic western

Ie The Outlaw Josey Wales (1976) women and Native Americans are shown positively

Westerns as a whole become more gritty and realistic as time went on

1930s Film Research

Many classics made. 1039 specifically considered one of the greatest fears in film because of releases such as Gone with the Wind at the Wizard of Oz

Classic monster films were made:  Dracula, Frankenstein, Dr Jekyll and Hyde
Stars of the era included Charlie Chaplain, Shirley Temple etc
Remakes to the previously silent fils included Alice in Wonderland, Cleopatra and The Prisoners of Zenda

Although films could have sound since the mid 1920s, the 1930s were still influential time due to the recent creation

The 1930s marked the start of the Golden Age of Hollywood, that continued into the 1940s

This was also the time where the studio system (where a small number of major studios controlled Hollywood and released the vast majority of films)

Hays Code
Due to the number of scandals in the 1920s, Will H. Hays (Head of Motion Pictures Producers and Distributors Association) created the Hays Code. This was a list of topics, compiled by Hays, that he believed Hollywood should avoid. It was created in the 1930s, but only enforced in1934 due to the Production Code Administration

Silent Film Era Research

No synchronised sound, especially dialogue
Would use gestures/mime (often borrowing from theatre), title cards and announcers to provide context
Orchestras would also play
70% of silent films are lost due to degradation of being destroyed
Era lasted mid 1890s - late 1920s
Were actually high quality, but the copies we see were damaged ones make it look bad
Were referred to at the time as talkies, sound film or taking pictures
First talkie was The Jazz Singer (1927)

Influential people in this era include Charlie Chaplian and Buster Keaton, who performed slapstick comedy. More serious performers include Lillian Gish and Rudolph Valentine

The director D.W. Griffith is also acclaimed as being one of the most influential creators of the time, with films such as The Birth of a Nation (1915), Intolerance (1916) and Broken Blossoms (1919)

Top Grossing Silent Films US:
The Birth of a Nation (1915)
The Big Parade (1925)
Ben-Hur (1925)
Way Down East (1920)
The Gold Rush (1925)

Mystery in the films we've studied

Vertigo
Supernatural element
What's happening at start
Is Judy going to tell the truth
Relationship between Midge - Scotty

Blade Runner
Who Deckard is
What Replicants are
Why they need to be hunted
Why is the world X
Rachel - Deckard, love dynamic

I like films like Blade Runner because of mystery, to not have some questions answered

Ie Vertigo sets up a supernatural 'mystery box' with another box inside it

Good films invest in characters

Krampus: The Christmas Devil - Critique

Cinematography
Camera shakes too much - looks homemade
OTS too blocked
Way too many close ups - blocks out characters
Out of focus
3 way conversation blocking is ineffective
No wide shots

Mise-en-scene
Two policemen costumes look nothing like police
Poor lighting all the time

Editing
Weird, unnecessary effects
Loads of dips to black
Jarring cuts to colour
Very fast paced editing
Flashback should be from his perspective
Phone conversation doesn't cross cut, no cutting in general

Sound
Music doesn't fit scene
Music changes in scenes
Dialogue at different levels
Lack of music
Sound levels wrong, cuts out jarringly

Characters with no name

Increases sense of mystery
Events of the plot could happen to anyone - adds a sense of relatability

Psycho

Similarities between Psycho and Vertigo:
Extended opening sequence
Blonde female protagonist
Orchestra mask stunts - incidental
Norman's face half in darkness
Focus on eye in the shower scene
Mental illness
Norman emascualted

Strange things about it:
Black and white even though colour was around - thought it looked creepier and more effective in terms of shadows
The protagonist dies half way through, massive twist, similar to Vertigo with Madeline's death half way through - both films have fake protagonists
Breaks conventions

Technical elements:
Loads of shot-reverse-shots
In Norman - Marion (protagonist) conversation, she's in centre with Norman on the right, with out matching in her shot - predator

Auteur

French word that means author

Concept that a filmmaker has such a distinctive style that they can be regarded as the 'author' of the film - it's down to them. And hat their style is so recognisable you can tell who made it without being told. In order to do this, the auteur must be someone which has direct control over the production, and has ouvre - a substantial body of work. They will have certain characteristics in their films that are consistent, e.g:
Aesthetics
Repeated themes
Crew (performers + crew)
Motif cinematography
Any film form features (mise en scene, cinematography, sound, editing)

Christopher Nolan
Favours non-linear narratives
Reuses actors

Wes Anderson
Reuses actors
High colour contrast
Symmetry
Steady cam
Unusual framing
Similar themes, settings

Quentin Tarantino
Use of music - late 60s-70s pop music
Excessive violence
Non-linear narrative
Expletives
Reuses actors

Ridley Scott
Strong female characters
Cutting away from violence - Often to 'seeing' - Woman on billboard, searchlights from blimp after Priss' death
Sci Fi
Realistic acting in unrealistic setting - Dialogue, attitude
Low key lighting, high contrast colour - Neon, umbrellas, woman looking billboard
Themes of humanity and identity
Isolated protagonist - Deckard (but only the Replicants aren't isolated in BR)
Long takes
Title card
Voyeurism - But to a more limited extent than Hitchcock - ie shots before entering eye shop

Alfred Hitchcock
Eccentric characterisations
Mystery and suspense via omniscient narrative - Finding out Judy/Madeline's true identity
Plays with audience nerves
Slow paced
Use of music
MacGuffin - Paranormal in Vertigo
Voyeurism - Scotty's stalking of Judy
Black comedy
Purposeful
Placement of objects - everything intentional
Cameo
Emasculated males - Scotty submissive to Midge, weak due to acrophobia
Themes of undeserved punishment (stems form childhood)
Plot line of films often relate to characters having psychological issues - Scotty's paranoia/delusion


Two types of Auteur - Thematically and Cinematically

Comparison of auteur trits between Scott and Hitchcock
Rachel a passively strong character, Priss and Zhora combatants, in comparison to debateably no strong characters in Vertigo
Vertigo Mise-en-scene - shot in studio vast majority of time, costume main focus of the last section but say nothing personal about them. Differs massively to Blade Runner, as each costume is unique
Both films have very active spectatorship - opinions on actions and motives of characters and over all themes

Vertigo Themes

Identity
Fake person, Scotty obsessed with them etc.

Psychological Orders
Scotty not sure what is real, vertigo all prisoners of own psychology
Sets up acrophobia as the theme

Appearances
Scotty seemed to be recovering, but was revealed he was always unstable since the opening scene. Supposed supernatural theme that turns out to be fake - things never what they seem, Scotty's opinion on the supernatural at the start.

Death
Seen as attractive and frightening, brushed over, not treated seriously
The death at end - holds no consequence

Supernatural
Fake theme - red herring. Still prevalent.
Ethereal glow when Judy dresses up as Madeline

Romance
Differs to normal, shows its a bad idea and only ends badly
Every relationship fails. We assume Scotty + Midge get together (close up shows she's interested)

Reality
Lots of Scotty's motivations based on a lie

Masculinity + Femininity
Flawed genders. Man has the weakness
Madge looks after Scotty not other way round. Women who aren't 'fallen' seen positively - Midge.

Guilt
Shown in all characters and develops plot
Scotty develops vertigo due to guilt and he says his problems come when remembers. Madeline confesses because of it

Obsession + Control
Everyone has control of someone else in a pyramid shape. None of it ends well. Once someone becomes obsessed they become the protagonist
Elster's control of Scotty and Judy, Judy's control of Scotty as Madeline, Scotty's control of Judy. In restaurant camera work hints that Madeline knows Scotty's watching. Scotty gradually becomes obsessed - line blurs between doing his job and stalking.

Music constant and dramatic/atmospheric
Performance overdramatic

High key colour, strange for the genre                                                                                                                                             

Mise-en-scene - shot in studio vast majority of time, costume main focus of the last section but say nothing personal about them (differs massively to Blade Runner)
Editing - loads of cross fades - all scene transitions are fades, loads of long takes