Tuesday 14 October 2014
Research and Planning Targets
Some very good analysis here Tobi - you're more than capable of evidencing A grade work consistently if you push yourself. Make sure you are evidencing every stage of the planning stage - and add some more research and analysis of trailers yourself to improve your marks.
Thursday 9 October 2014
Possible Locations Research
Wisley Airfield
Wisley airfield is an old, abandoned airstrip just off of the A3. We have chosen it as a possible location primarily because of the overgrown and empty feeling around it, since it was abandoned, there has been no real upkeep of the site, therefore weeds grow through the tarmac and much of the old pavement is cracked and ruined. It has a very good post apocalyptic look due to it's state of abandonment and emptiness, however we don't intend to have many action scenes in this area because it is somewhat unrealistic to have more than one group or person, also the lack of any real hiding places restricts any element of surprise or suspense as any enemy would be easily seen. We may just use location for a couple of scenes to portray the emptiness and barren world our characters now reside in.
Camera shot types
In the closeup shot, a certain feature or part of the subject takes up most of the frame. A close up of a person usually means a close up of their face (unless specified otherwise).
Over the shoulder shot is a shot is framed from behind a person who is looking at the subject. The person facing the subject should usually occupy about 1/3 of the frame.
This shot helps to establish the position of each person, and get the feel of looking at one person from the other's point of view.
It's common to cut between these shots during a conversation, alternating the view between the different speakers.
Common in interviews, this is a shot of the person listening and reacting to the subject. In fact, when shooting interviews with one camera, the usual routine is to shoot the subject (using OSS and one-shots) for the entire interview, then shoot some noddies of the interviewer once the interview is finished. The noddies are edited into the interview later.
This shot shows a view from the subject's perspective. It is usually edited in such a way that it is obvious whose POV it is (see the example below).
In this type of shot the subject is the weather. The sky takes up at least 2/3 of the frame. This type of shot is common in television programs where the weather is of particular interest, e.g. sports shows.
Although the usual purpose of this shot is to show the weather, it is also useful as an establishing shot, for setting the general mood or for overlaying graphics.
A weather shot doesn't have to show the sky.
In the extreme wide shot, the view is so far from the subject that s/he isn't even visible. The point of this shot is to show the subject's surroundings.
The EWS is often used as an "establishing shot" - the first shot of a new scene, designed to show the audience where the action is taking place.
It is also useful in scenes where the action is very spread out. For example, in a war movie an extreme wide shot can show the scale of the action.
The very wide shot is much closer to the subject than an extreme wide shot, but still much further away than a wide shot. The subject is visible here but only just (in this case it's a boy leaning against the fence). The emphasis is very much on placing him in his environment.
This often works as an establishing shot, in which the audience is shown the whole setting so they can orient themselves.
In the wide shot, the subject takes up the full frame. Obviously the subject doesn't take up the whole width and height of the frame, since this is as close as we can get without losing any part of it. The small amount of room above and below the subject can be thought of as safety room — you don't want to be cutting the top of the building off. It would also look uncomfortable if the top and bottom of the building were exactly at the top and bottom of frame.
The mid shot shows some part of the subject in more detail, whilst still showing enough for the audience to feel as if they were looking at the whole subject. In fact, this is an approximation of how you would see a person "in the flesh" if you were having a casual conversation. You wouldn't be paying any attention to their lower body, so that part of the picture is unnecessary.
The MS is appropriate when the subject is speaking without too much emotion or intense concentration. It also works well when the intent is to deliver information, which is why it is frequently used by television news presenters. You will often see a story begin with a MS of the reporter (providing information), followed by closer shots of interview subjects (providing reactions and emotion).
The EWS is often used as an "establishing shot" - the first shot of a new scene, designed to show the audience where the action is taking place.
It is also useful in scenes where the action is very spread out. For example, in a war movie an extreme wide shot can show the scale of the action.
The very wide shot is much closer to the subject than an extreme wide shot, but still much further away than a wide shot. The subject is visible here but only just (in this case it's a boy leaning against the fence). The emphasis is very much on placing him in his environment.This often works as an establishing shot, in which the audience is shown the whole setting so they can orient themselves.
In the wide shot, the subject takes up the full frame. Obviously the subject doesn't take up the whole width and height of the frame, since this is as close as we can get without losing any part of it. The small amount of room above and below the subject can be thought of as safety room — you don't want to be cutting the top of the building off. It would also look uncomfortable if the top and bottom of the building were exactly at the top and bottom of frame.
The mid shot shows some part of the subject in more detail, whilst still showing enough for the audience to feel as if they were looking at the whole subject. In fact, this is an approximation of how you would see a person "in the flesh" if you were having a casual conversation. You wouldn't be paying any attention to their lower body, so that part of the picture is unnecessary.The MS is appropriate when the subject is speaking without too much emotion or intense concentration. It also works well when the intent is to deliver information, which is why it is frequently used by television news presenters. You will often see a story begin with a MS of the reporter (providing information), followed by closer shots of interview subjects (providing reactions and emotion).
In the closeup shot, a certain feature or part of the subject takes up most of the frame. A close up of a person usually means a close up of their face (unless specified otherwise).
Close-ups are obviously useful for showing detail and can also be used as a cut-in.
A close-up of a person emphasizes their emotional state. Whereas a mid-shot or wide-shot is more appropriate for delivering facts and general information, a close-up exaggerates facial expressions which convey emotion. The viewer is drawn into the subject's personal space and shares their feelings.
A variation is the chocker shot which is typically framed on the subject's face from above the eyebrows to below the mouth.
The ECU (also known as XCU) gets right in and shows extreme detail.
You would normally need a specific reason to get this close. It is too close to show general reactions or emotion except in very dramatic scenes.
A cut in shot, ,like a cutaway, but specifically refers to showing some part of the subject in detail.
Can be used purely as an edit point, or to emphasise emotion etc. For example, hand movements can show enthusiasm, agitation, nervousness, etc
A cutaway is a shot that's usually of something other than the current action. It could be a different subject (eg. this cat when the main subject is its owner), a close up of a different part of the subject (eg. the subject's hands), or just about anything else.
The cutaway is used as a "buffer" between shots (to help the editing process), or to add interest/information.
A two-shot- There are a few variations on this one, but the basic idea is to have a comfortable shot of two people. Often used in interviews, or when two presenters are hosting a show.
A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people.
Two-shots are good for establishing a relationship between subjects. If you see two sports presenters standing side by side facing the camera, you get the idea that these people are going to be the show's co-hosts. As they have equal prominence in the frame, the implication is that they will provide equal input. Of course this doesn't always apply, for example, there are many instances in which it's obvious one of the people is a presenter and the other is a guest. In any case, the two-shot is a natural way to introduce two people.
A two-shot could also involve movement or action. It is a good way to follow the interaction between two people without getting distracted by their surroundings.
A close-up of a person emphasizes their emotional state. Whereas a mid-shot or wide-shot is more appropriate for delivering facts and general information, a close-up exaggerates facial expressions which convey emotion. The viewer is drawn into the subject's personal space and shares their feelings.
A variation is the chocker shot which is typically framed on the subject's face from above the eyebrows to below the mouth.
The ECU (also known as XCU) gets right in and shows extreme detail.
You would normally need a specific reason to get this close. It is too close to show general reactions or emotion except in very dramatic scenes.
A cut in shot, ,like a cutaway, but specifically refers to showing some part of the subject in detail.
Can be used purely as an edit point, or to emphasise emotion etc. For example, hand movements can show enthusiasm, agitation, nervousness, etc
A cutaway is a shot that's usually of something other than the current action. It could be a different subject (eg. this cat when the main subject is its owner), a close up of a different part of the subject (eg. the subject's hands), or just about anything else.The cutaway is used as a "buffer" between shots (to help the editing process), or to add interest/information.
A two-shot- There are a few variations on this one, but the basic idea is to have a comfortable shot of two people. Often used in interviews, or when two presenters are hosting a show.A "One-Shot" could be a mid-shot of either of these subjects. A "Three-Shot", unsurprisingly, contains three people.
Two-shots are good for establishing a relationship between subjects. If you see two sports presenters standing side by side facing the camera, you get the idea that these people are going to be the show's co-hosts. As they have equal prominence in the frame, the implication is that they will provide equal input. Of course this doesn't always apply, for example, there are many instances in which it's obvious one of the people is a presenter and the other is a guest. In any case, the two-shot is a natural way to introduce two people.
A two-shot could also involve movement or action. It is a good way to follow the interaction between two people without getting distracted by their surroundings.
Over the shoulder shot is a shot is framed from behind a person who is looking at the subject. The person facing the subject should usually occupy about 1/3 of the frame.This shot helps to establish the position of each person, and get the feel of looking at one person from the other's point of view.
It's common to cut between these shots during a conversation, alternating the view between the different speakers.
Common in interviews, this is a shot of the person listening and reacting to the subject. In fact, when shooting interviews with one camera, the usual routine is to shoot the subject (using OSS and one-shots) for the entire interview, then shoot some noddies of the interviewer once the interview is finished. The noddies are edited into the interview later.
This shot shows a view from the subject's perspective. It is usually edited in such a way that it is obvious whose POV it is (see the example below).
In this type of shot the subject is the weather. The sky takes up at least 2/3 of the frame. This type of shot is common in television programs where the weather is of particular interest, e.g. sports shows.Although the usual purpose of this shot is to show the weather, it is also useful as an establishing shot, for setting the general mood or for overlaying graphics.
A weather shot doesn't have to show the sky.
Muzzle Flare Tutorial
This tutorial may come in useful depending on whether we decide to use guns or not. As if we did adding muzzle flare would be a necesity or the shots wouldnt look realistic at all, which would help us make our film more realistic.
Top 5 Zombie Films
With the release of Resident Evil and the new series of the walking dead zombies are once again the biggest trend in popular horror. Check out our Top 5.
5. Dawn of the Dead (Remake)
This thrilling, action-packed and truly scary zombie film catapulted George A. Romero’s film into a modern day scream-fest. The famous scenes that took place in a deserted shopping mall are given a new twist, which to this day remains unique to this film – a pregnant zombie (well, we can’t think of any others, can you?). If the original never scared you, we strongly recommend that you watch the Dawn of the Dead remake.
4. Zombieland
Zombieland is one film you can’t afford to miss. A nerdy college boy sets off onto the road to Ohio in search for his family with Twinkie obsessed and gun mad Woody Harrelson. Their adventure takes them to Bill Murray’s house and eventually, to the playground of zombies that is the theme park. Although this scene is late on into the film, it’s most certainly worth the wait.
Later
When 28 Days Later arrived to our screens, it set a new standard for up and coming zombie films. This post-apocalyptic film ensured that the undead will always remain at the top of the most terrifying monster list, and with its modern twist – making the flesh eaters fast, everyone remained at the edge of their seats.
2. Dead Alive/Braindead
Before the days of The Lord of the Rings, Peter Jackson liked to dabble in horror films, and his Dead Alive or Braindead has become a popular cult classic. One of the goriest zombie films ever made, Dead Alive has been banned in several countries for its graphic scenes. However, many would say that because the gore is so over the top it is more of a comedy than a horror. Nevertheless, there is a reason why this film is number two on our list.
1. Night of the Living Dead
Romero’s debut into the realm of zombies, Night of the Living Dead is a classic that can never be taken off any top zombie film list. Barbara and Johnny visit a small Pennsylvania town, but their adventure turns into the deadliest trip they have ever taken as Johnny is killed by a flesh eating zombie.
Friday 3 October 2014
Codes and conventions of Comedy films
The comedy film genre belongs to the groups of films that evoke laughter/humor from the audience. 'Comedy' is the most important category in cinema, present in every national film culture and dominant in many. But much of the time comedy is enjoyed by audiences as an element across many films rather than as a distinct genre.
Comedy films fall into two main sub-groupings: a) the comedian-led film, structured through gags and sketches; and b) the comedy situation film with a more coherent narrative. These two groups can sometimes overlap and indeed the 'pure' comedy film of any kind is a fairly rare animal. Most so-called comedy films are in reality hybrids, 'comedy hyphenates' such as comedy-horror, comedy-thriller, comedy-musical etc.
In contemporary cinema, critics and theorists have been mostly concerned with defining specific hybrids, which draw on the broader repertoire of 'comedy elements' in easily recognizable ways:
'teen comedy' - often set in high school and involving adolescent sexual adventure and conflicts with authority;
'romantic comedy' - a popular hybrid, targeted at women and couples, especially in the 25-35 age group;
'social comedy' - 'situational comedies' drawing on class conflict and social realism, a feature of British cinema;
'gross-out comedy' - a currently successful cycle which may involve any of the above, but pushed more towards outrageous gags.
Theoretical work has focused on particular forms such as 'screwball comedy', the first great cycle of which appeared in the 1930s and 1940s with performers such as Carole Lombard, Barbara Stanwyck and Katherine Hepburn. The subversive nature of this cycle and its structural similarity to horror are just two of its critical attractions.
In a comedy film, audiences respond to two different comedy elements:
The Gag - visual, aural, verbal jokes, carefully timed and delivered for maximum impact;
Comic situation - 'narrative comedy' in which it is the developing relationships between characters and the social environment that causes us to laugh.
These two elements make a volatile combination since the performance of gags is often highly disruptive of the progression of the narrative. In most comedy films there is a tension between the gag and the narrative situation and between the comedian and the comic actor.
The pedagogic problem with comedy seems to be that it is very difficult to pin down. As well as the tension between the gag and the narrative, there is a further set of categorizations which refer to the purposes of comedy and, linked to this, the status of the comedy form. I've called these 'types' of comedy, but I'm sure there is a better term.
Here are four distinct types:
Slapstick is 'visual and vulgar'. It is in one sense primitive and universal, relying on our almost instinctive reaction to characters assailed by danger, pain etc. At the same time it requires great timing and all round performance skills. And in the form of the traditional cinema cartoon it can become a highly sophisticated exploration of human behavior (think Roadrunner and Wile E. Coyote).
Observational comedy is gentler and more subtle and presents everyday life as quirky with unusual behavior in a realist context. Parody mocks existing forms, requiring audiences to have specific knowledge of media texts, although in its current incarnation as the 'spoof', this knowledge could be limited to what is available on mainstream television.
Satire is comedy used to make political and social commentary. This requires analysis of the whole social context, implying an educated audience. These different types can be mixed together. (Monty Python's Life of Brian arguably displays elements of all the types.)
Codes and Conventions of Comedy
1. Film Language
The secret of comedy is timing and performance. A person could analyse routines, gags etc. and see how they are used within a narrative feature. It would be interesting to compare a visual gag with a classic suspense sequence. Both involve a careful playoff between what we know as the audience and the awareness displayed by the character. Our pleasure comes from the gleeful anticipation of the humiliation of the comic character or our fear for the hero.
2. Representation
Possibly the most productive approach, analysis of character 'types' and situations should open up comedy films for student analysis. Comedy, like drama, depends on conflicts, in particular between weak and strong characters. Much comedy arises from the success of the weak in deflating the powerful. On the other hand, comedy is also a weapon against fear of the unknown or 'the Other', so that the basis for comedy becomes racism, sexism etc.
3. Audience
The advantage of comedy to producers is that it appeals across all audience groups. However, there are distinct differences in audiences for certain types of comedy. In the UK these are often class differences and age differences. The distinctions were particularly strong in earlier periods when genre production was still possible in British Cinema - e.g. the 1950s with Norman Wisdom (working class) v. the Doctor series (middle class).
4 Institutions
Comedy films may be quite good for studying institution. Historically, various cycles of films can be traced back to their origins in other forms such as music hall, radio and television and in the last twenty years, from club 'stand-up'.
Comedy films fall into two main sub-groupings: a) the comedian-led film, structured through gags and sketches; and b) the comedy situation film with a more coherent narrative. These two groups can sometimes overlap and indeed the 'pure' comedy film of any kind is a fairly rare animal. Most so-called comedy films are in reality hybrids, 'comedy hyphenates' such as comedy-horror, comedy-thriller, comedy-musical etc.
In contemporary cinema, critics and theorists have been mostly concerned with defining specific hybrids, which draw on the broader repertoire of 'comedy elements' in easily recognizable ways:
'teen comedy' - often set in high school and involving adolescent sexual adventure and conflicts with authority;
'romantic comedy' - a popular hybrid, targeted at women and couples, especially in the 25-35 age group;
'social comedy' - 'situational comedies' drawing on class conflict and social realism, a feature of British cinema;
'gross-out comedy' - a currently successful cycle which may involve any of the above, but pushed more towards outrageous gags.
Theoretical work has focused on particular forms such as 'screwball comedy', the first great cycle of which appeared in the 1930s and 1940s with performers such as Carole Lombard, Barbara Stanwyck and Katherine Hepburn. The subversive nature of this cycle and its structural similarity to horror are just two of its critical attractions.
In a comedy film, audiences respond to two different comedy elements:
The Gag - visual, aural, verbal jokes, carefully timed and delivered for maximum impact;
Comic situation - 'narrative comedy' in which it is the developing relationships between characters and the social environment that causes us to laugh.
These two elements make a volatile combination since the performance of gags is often highly disruptive of the progression of the narrative. In most comedy films there is a tension between the gag and the narrative situation and between the comedian and the comic actor.
The pedagogic problem with comedy seems to be that it is very difficult to pin down. As well as the tension between the gag and the narrative, there is a further set of categorizations which refer to the purposes of comedy and, linked to this, the status of the comedy form. I've called these 'types' of comedy, but I'm sure there is a better term.
Here are four distinct types:
Slapstick is 'visual and vulgar'. It is in one sense primitive and universal, relying on our almost instinctive reaction to characters assailed by danger, pain etc. At the same time it requires great timing and all round performance skills. And in the form of the traditional cinema cartoon it can become a highly sophisticated exploration of human behavior (think Roadrunner and Wile E. Coyote).
Observational comedy is gentler and more subtle and presents everyday life as quirky with unusual behavior in a realist context. Parody mocks existing forms, requiring audiences to have specific knowledge of media texts, although in its current incarnation as the 'spoof', this knowledge could be limited to what is available on mainstream television.
Satire is comedy used to make political and social commentary. This requires analysis of the whole social context, implying an educated audience. These different types can be mixed together. (Monty Python's Life of Brian arguably displays elements of all the types.)
Codes and Conventions of Comedy
1. Film Language
The secret of comedy is timing and performance. A person could analyse routines, gags etc. and see how they are used within a narrative feature. It would be interesting to compare a visual gag with a classic suspense sequence. Both involve a careful playoff between what we know as the audience and the awareness displayed by the character. Our pleasure comes from the gleeful anticipation of the humiliation of the comic character or our fear for the hero.
2. Representation
Possibly the most productive approach, analysis of character 'types' and situations should open up comedy films for student analysis. Comedy, like drama, depends on conflicts, in particular between weak and strong characters. Much comedy arises from the success of the weak in deflating the powerful. On the other hand, comedy is also a weapon against fear of the unknown or 'the Other', so that the basis for comedy becomes racism, sexism etc.
3. Audience
The advantage of comedy to producers is that it appeals across all audience groups. However, there are distinct differences in audiences for certain types of comedy. In the UK these are often class differences and age differences. The distinctions were particularly strong in earlier periods when genre production was still possible in British Cinema - e.g. the 1950s with Norman Wisdom (working class) v. the Doctor series (middle class).
4 Institutions
Comedy films may be quite good for studying institution. Historically, various cycles of films can be traced back to their origins in other forms such as music hall, radio and television and in the last twenty years, from club 'stand-up'.
Subscribe to:
Posts (Atom)