Kapadia:
Reflexive, poetic and expository
Moore:
Participatory, aspects of performative (Grierson - documentary is the creative interpretation of actuality)
Broomfield:
Participatory, reflexive (ie shows him making it - his direct cinema approach to get your own negotiated reading)
Friday, 7 June 2019
Global Film - Aesthetics and Stuff
Aesthetics is almost in the background, but gives an overall look and feel
Ie in Pan's Labyrinth the lighting shows it. Pathetic fallacy of weather - deteriorates as the film goes on
Pans Labyrinth has uterus imagery - the female reproductive system creates
Spirals in fantasy imagery shows the unending nature of the plot or fantasy - eternity. Cogs contrast this, especially in the captain's room, showing the binary opposition
City of God - the high contrast colour shows vibrancy, like the city is alive, almost a character in itself, which is epitomized by the flat scene
Never show an establishing shot of the slum, shows they're trapped
Extreme close ups, shallow depth of field, handheld - documentary. Whips pans intercut with actual cuts. V. fast editing montages - like an advert of music video
Freeze frames - connotations of a gangster film - Goodfellas. Familiar with convention. Difference is Li'l Ze doesn't have the things that gangsters have, he's still trapped even if he's rich
Editing at the end is the same as at the beginning - Rocket becomes the chicken but the roles are reversed - Li'l Ze becomes the chicken
When people want the outside world, they can't escape, but when the outside world wants you, you get out - Rocket
Scenes:
Opening
Kid shot
Knockout Ned montage
Transformation
Closing scene - Li'l Ze talking to police until the Runts walking off. Voyeuristic. Runts walk back into the city - endless cycle.
Pans - he's trapped in his fathers legacy, just as the cogs in his room show that he's trapped in the watch
Production contect - includes representation, setting and time of production
Ie in Pan's Labyrinth the lighting shows it. Pathetic fallacy of weather - deteriorates as the film goes on
Pans Labyrinth has uterus imagery - the female reproductive system creates
Spirals in fantasy imagery shows the unending nature of the plot or fantasy - eternity. Cogs contrast this, especially in the captain's room, showing the binary opposition
City of God - the high contrast colour shows vibrancy, like the city is alive, almost a character in itself, which is epitomized by the flat scene
Never show an establishing shot of the slum, shows they're trapped
Extreme close ups, shallow depth of field, handheld - documentary. Whips pans intercut with actual cuts. V. fast editing montages - like an advert of music video
Freeze frames - connotations of a gangster film - Goodfellas. Familiar with convention. Difference is Li'l Ze doesn't have the things that gangsters have, he's still trapped even if he's rich
Editing at the end is the same as at the beginning - Rocket becomes the chicken but the roles are reversed - Li'l Ze becomes the chicken
When people want the outside world, they can't escape, but when the outside world wants you, you get out - Rocket
Scenes:
Opening
Kid shot
Knockout Ned montage
Transformation
Closing scene - Li'l Ze talking to police until the Runts walking off. Voyeuristic. Runts walk back into the city - endless cycle.
Pans - he's trapped in his fathers legacy, just as the cogs in his room show that he's trapped in the watch
Production contect - includes representation, setting and time of production
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