- 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
Thursday, 14 June 2018
Beasts of the Southern Wild Production Context
Monday, 4 June 2018
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
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
Friday, 1 June 2018
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
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.
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.
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