Documentary Film

AMY and Bowling for Columbine

Component 2; Section B Documentary film

30 min question – 20 marks. Might ask you to refer to filmmaker theories or impact of digital technology. Choice of two questions.

Asif Kapadia – Director

• “Something happened with Amy, i wanted to know how that happened right in front of our eyes. How can someone die like that in this day and age? And it wasnt a shock; i almost knew it was going to happen.”
• “Its a very complicated and tender movie. It tackles family, media, fame, addiction, and importantly captures the heart of what she was about and the true musical genius”

Product context

• British documentary, co produced by Film 4 with Universal Musical
• Low production value but commercial success- £20m
• Asif Kapadia is documentary auteur – Senna, Diego Maradona
• Distributed by indie companies – A24 & Altitude

Amy Winehouse’s relationship with the Media

Her addictions and struggles with bulimia were almost ridiculed by the media, they used her issues and personal problems as a way to gain money and using her as clickbait.

2007 INDEPENDENT news paper, compares her to pete doherty and how she has stolen the crown of being a messed up user as if it is a competition the public can watch or bet on. using her eating disorders as a story comparing her body from 2005 to 2007, saying she looks better before, sexualising her.

Searching up stories about Amy winehouse from 2006 onwards they are all negative titles, ‘Amy arrested’

stories about her doing things in her home, intruding her privacy

“‘Rehab’ made Amy a star.” That’s kind of a perversely ironic line, don’t you think? What that song is about — Amy’s very personal struggle with addiction and with drugs — is what the media latched onto, even more so than her music.“

Asip Kapadias Style

Kapidias films are defined by an innovative style called ‘true fiction’ where the documentary is constructed almost entirely from archive footage (in the case of Amy, most of the footage in archive) and the story is told without any guiding voiceover, an untraditional break with convention in the documentary format.

Kapadia rose to fame as the director of Senna- another study of a talented but tragic figure, the racing driver Ayrton Senna and recently Maradona.

As a spectator, Kapadia’s style works because it looks at famous people who the public may have grown up hearing about their troubled lives and to have a different and more intimate insight into these characters lives, and although the bias is not overbearing, there is an emotional side which would make viewers feel sad and a sense of realism, reminders that she was a real person and not just what the media made of her. Maradona having died recently gives the documentary on him more impact, a way to remember him not just for his troubled life but for his success and personal reasons too.

• this style of documentary works because it mirros the msanner in which we live our lives in the modern world – for many of us, social media has become an extension of what we know as reality, we use stories and live recordings such as facetime to connect to friends and family.
• these stories mirror the aesthetic of Amy because the footage in the documentary is also shot and composed on mobile devices, this style connects viewers to the film
• the content is compelling and although the story of addiction has been told before, its a story being told in a new virtual social media type of way.
• more engaging to contemporary audiences mirrors how we look at social media.

Techniques used by Kapadia

• Stock footage (news sources/interviews)
• unseen footage captured on video by people close to her – mobile phone footage
• still images allowing spectators to use their imagination on the feelings and lets them to think about the situation
• lack of authorial voiceover is also important in encouraging the spectator to be guided more by the juxtaposition of images and sound rather than a direct point of view
• the selection of voices to support images and footage are carefully chosen, interviewers are not seen speaking directly to camera – unless in Amy Winehouses case as part of stock footage
• montage effect of editing – piecing together a narrative based on a variety of materials
• the use of real footage to provide expositional informatiuon about settings in most cases, London, taking the form of an ariel swooping shot
• the use of captions is used in the form of lyrics from Amy Winehouse’s songs- incidental music used in particular sequences that correspond with the footage of her life and subject matter.

Michael Moore

• An American filmmaker, author and political activist, known for his documentary series addressing political issues
• started a radical newspaper, the flint voice, and was involved with other left wing magazines
• very visible presence in documentaries, can be described as participatory and performative
• highly committed work, taking up a clear point of view which is left wing and ‘agit-pop’ documentary style- a political propaganda for left
• he justifies his practise in providing balance for mainstream media in his view that provides false information
• part of Moore’s approach is to use humour and lampoon the subject of his work and sometimes to recognise that documentaries need to entertain and hold an audience

Career and Style

• Use of comedy and dark satire used to attack the institutions that he targeted. Central to the films in seeing him interviewing people and his everyman persona encourages a range of responses
• underscored by physical appearance, he wears casual clothes, a baseball cap and is overweight. This laidback persona hides a sharp and incisive line of questioning which he uses to good affect
• work can be seen as subjective, the way comedy is employed whether by using clever expositional devices or by moores interviews themselves
• focus on a particular genre, e.g, guns control, invasion of Iraq, american health care system.
• a voice for the American left wing, some of his films have been successes in global box offices

film form in Bowling for Columbine

• the use of archive and found footage
• close ups and midshots of people talking
• action reaction shots for conversations
• editing used to orchestrate a certain message and response for the audience. the intention is to make fun of gun lovers and supporters
• questions used to orchestrate a certain message and responses from and to the audience. intentiion to make fun of gun lovers and supporters
• the director is on screen, in terms of his performance, he handles guns which are the topic of the documentary

PART 2 (01/12/20)

Michael Moore and Amy similarities

• filmmakers use film form to manipulate how the spectator feels and thinks – e.g voiceover, lens flare, archive footage specifically chosen. Also known as guided viewing experience. Example – long shot of Amy in a revealing outfit whilst the voiceover talks about her provocative behaviour. Links to Moore’s style through the way they both tug on heart strings.

Kim Longinotto

• Makes films that highlight female oppression, particularly the victims and women who have suffered.
• British documentary maker, had a hard upbringing and ended up going to Essex University and the National film school
• Observational filmmaker – uses techniques such as advanced planning, scripting, staging, narration, lighting, reenactment and interviewing.
• giving people control over their own stories, she observes and documents their lives.
• she favours long takes and tries to capture the extraordinary in the lives of the subjects that she observes
• uniquely personal stories, focusing on outsiders
• shot calmly and unobtrusively, being sensitive due to the victims being the focus. often a strong female victim
• worked in a number of different countries around the world, iran, italy, cameroon, japan, and the US.
• It could be argued that her perspective on the range of different cultures she encounters in her films gives a real sense of herself as an outsider filmmaker

Shooting the Mafia

• archive footage from the past relating to the mafia and people in the documentary now
• emotional music and pictures encouraging an emotional response from spectators
• interviews of the people involved

How can we compare Kim Longinotto’s style and the film Amy?

• All about the subject, directors arent mentioned or present
• Both look at social issues
• Longinotto uses subjects you are able to identify with – sympathetic and arguably ‘victim’ characters like Amy Winehouse
• Longinotto films highlight female victims of oppression, female central protagonists- Amy is similar to this
• No traditional narrative voiceover reinforces fictional film tradition

Conventional Documentary genres

• Hand held camera realism and truth
• Narrative voiceover preferred reading (the reading the filmmaker wants you to take) – Hall
• Intercutting with archive footage – non-linear. Investigate narrative building a picture. Vox pops (voice of the people) and interviews, use of conflict
• POV mediation, and subjectivity- exploration of themes and issues
• Informing, educating and entertaining the audience – voyuerism

AMY – Several narrative levels – innovative approach requiring a montage-like editing approach

• stock archive footage
• unseen footage released by friends and family
• use of still image (juxtaposition important with a lack of traditional narrative voiceover)
• captioned present day indirect interviews
• footage of aerial shots (London location) significant to the characters story

Narrative

• Based on archive footage and 100 edited interviews
• linear with flashback as narrative journey- use of home footage – teenage wannabe to pop star to drug taker to music icon
• spectator interaction with Amy- positioned using emotive representations e.g Mitch (her father) and his 7yr affair, walking out on mother when Amy was 9 years old
• no narrative voice over (challenging documentary convention) use of captions position the spectator
• use of still images with stock new footage, unseen and interviews create a montage effect

Critical Debates

objectivity – no personal views or emotional emphasis

non fiction – truth regarding information, an event or person

construction – falsely created

truth – something presented accuratelty to the way

reality

cinematic

from most to least important in documentary films:

truth, reality, cinematic, non fiction objectivity construction

Bill Nichols

A leading American film academic who wrote a seminal text on documentary form, introduction to documentary (indiana university press)

Six modes of Documentary

• Nichols identified what he termed as six modes of documentary. These were distinct cinematic modes which utilise a range of different filmic techniques. These modes help define the shape and feel of a documentary film.

1. Poetic – arranges footage in an order to evoke response through tone, rhythm or juxtapostion. Use associative editing to create a mood or tone avoiding explicit argument about a subject
2. Expository – has a specific argument or viewpoint, speaks directly to the viewer with a voiceover and leads you through the film with rhetorical questions. Often television documentary
3. Reflexive – calls attention to the conventions of documentary filmmaking in terms of direct acknowledgement of the filmmaking process. Film with self awareness, film about making a film showing a film being made with cameras, mics. Man with a movie camera.
4. Observational the camera looks on as the participants in the film go on with their lives, as if the camera isnt present. Filmmaker steps back from material and doesnt have much of a presence, a neutral stance. Uninterrupted handheld e.g direct cinema/ cinema verite
5. Performative – emphasizes the expressive quality of the filmmakers engagement with the subject of the film and addresses the audience in a vivid way. This is where the filmmaker is not aloof from subject matter but who actively engages with the material, where they are seen as a participant.
6. Participatory – the filmmaker interacts with the participants in the film, relationship between filmmaker and person being filmed becomes more direct and complex. They directly participate in shaping what happens on camera, often through interviews.

https://nofilmschool.com/2015/09/nichols-6-modes-documentary-can-help-expand-your-storytelling

What applies to Amy?

• Observational
• Poetic
• Reflexive

Asif Kapadia on Preferred readings

• grew up around Camden, links to London and knew her music well. ‘Just someone up the road’
• Wasnt shocked when she died, wanted to find out why it ended and why no one stopped it happening. Unravelling who she was, what inspired her, how did she get into drugs and what happened. Going back from the ending to figure it out.
• had enough questions to answer to make the film.
• He stood out to her, vintage clothing yet an ordinary girl in London who struggled from a young age
• Saw her as taking her bad situations into positive things through writing songs,she was under control with her negative thoughts til she got more famous and it became out of her control.
• Thinks Blake is to blame for the drugs and the fact no one thought she needed help.
• Kapadia shows how the songs she wrote related to her time, and how personal and how obvious it was that she was struggling. Her songs tell a story about herself.
• He didnt know the story well before making the documentary, not going in with a agenda, filmmaking more subjective and observational.
• Nick had a key influence on the filmmaking and helped them to research, he spoke about his experience and said to speak to more people, like a snowball effect. All the people in Amy’s life had a contribution
• structure of her story in chapters
• everything that happened and everything that she dealt with played a part in her downfall
• Film is about Amy and what was best for her, not about anyone else; ‘some people found it difficult that it was just about her’ reference to Mitch who tried to have control and how he negatively contributed to her life. He tried to sell his life story through Amy.
• every song is like a chapter of her life, as if she knew from a young age what would happen to her and we didnt pay enough attention.
• believes it could have been stopped but people used her for money, as well as journalists and media and the audiences who contributed to her demise
• reflective – make it feel cinematic and as if youre in there. the footage is of Amy singing and talking into a camera, Blake with a camera, paparazzi with a camera. the camera goes from being her friend to an enemy, negative gaze of the camera. ]
• Amy wasnt interested in fame and money, she had her door open to everyone.
• music comes from tension and drama, her songs are so good because she felt emotions and was dark

Critical Debate: Digital technology

• the degree of the impact that digital has had on film since the 1990s is a developing debate. Some film commentators argue that although digital technology could potentially transform cinema, so far films, especially narrative films designed for cinema release have changed very little from pre-digital times. Others consider that the impact of digital filmmaking is only beginning to emerge, both in high concept hollywood filmmaking and in much lower budget experimental work
• Amy is a film which uses digital technology to tell its story.

Are smart phones valid for shooting important footage?

IN FAVOUR

• We are all now potential filmmakers which gives us access to the medium
• This may have been denied in the past because of cost or lack of technical ability
• This type of filmmaking can capture our reality
• We can document parts of our lives especially key events
• These films can reflect how we were feeling at a particular time
• There is the potential to use the internet as a means of distrubution
• Equally aesthetic decisions can be made on how the films look and how they are subsequently recieved

AGAINST

• Whatever happened to the use of our memories- shouldnt this be enough to document our own reality
• Does the filming of what we determine as our key events be possibly seen as self obsessed and narcisstic
• What viewpoint of reality is this point of view actually giving
• Can this sort of filming ever be truly objective
• Who is going to want to see what we have filmed
• Without technical manipulation (such as editing) can these films ever create a coherent narrative
• Is digital technology too easily disposable to last? What is the ultimate value artistically

Film Vs Digital

Does this really matter to audiences?

If it does what have they gained or lost as a result of this revolution in film industry?

film more organic, dominant medium, makes a film feel more unique

digital crisp, sharp, artificial, is cheaper by a lot , more widely available

Amy and Digital Technology

• Documentary has always responded to the possibilities afforded by new technologies. the growth over the years of more portable cameras and sound equipment have added to the way that documentaries can show real innovation when reporting on their subject matter
• In Kapadias film there is very little original footage shot, only consisting of establishing shots of London from birdseye view with a drone or helicopter. These are done digitally, offering a counterpoint to the rest of the film which is archive footage
• Amy is the work of a number of filmmakers and kapadias skill as a filmmaker is really seen in the editing room. Got archive footage from media sources and friends and family Amy, placing the two together.
• The combination of analouge and early digital recordings of Amy from her friends and family do offer a revealing perspective on her childhood and early life and the start of her career
• Interesting debates developed on the more controversial aspects of her life- bulimia, addictions, relationships.
• We only hear interviews and never see them, Kapadia would have spoken to these people and recorded their thoughts and use them to play with videos and images
• The manipulation and montage effect of using the footage alongside interviews give the film power and emotion

Meaning and responses/ Critical debates

• Documentary subjectivity – negative, mediated representation of Mitch (gave permission but objected the film)
• Kapadia denies agenda, “there is nothing there that isnt in her lyrics”
• Other criticism – spectator voyeurism (‘another icon who died young’ – fascination with troubled celebritism
• Interviews suggest early patriarchal control by Mitch- Amy seeking approval from him (Rehab lyrics)
• Selection of interviews and narrative construction crucial to production of meaning e.g Mitch turning up in Jamaica with a film crew.
• Encourages you to have an opinion

ISP Week 8- ‘How is mise-en-scene used to create meaning in the Pale Man sequence of Pan’s Labyrinth?’

10 marker re-cap

In the film ‘Pan’s labyrinth’, meaning is created through mise-en-scene in the Pale man sequence, as it is representative of historical and political contexts. An example of mise en scene in this sequence would be the pile of childrens shoes in the corner of the room, which connotes those who died in the holocaust as the film is set at a similar time to the war in which this occured. Del Toro uses this to imply that there are other means of context in this scene, for example the greediness of the pale man who sits on a long table filled with food that no one else is allowed to touch, could be suggestive of the pale man being representative of Franco, the leader of the facsists. This also links to the way the pale man eats children, as we see in photographs on the wall; mirroring Franco causing many deaths in the fascist war. It could also represent that Franco stole the next generations futures, the war ruining hope for change and reform for children who would grow up to live in Spain.

The pale man’s eyes being on his hands, rather than face, could be foreshadowing the fact that Vidal meets his death by being blinded, and the rebels he shoots that get blinded. More metaphorically, Vidal is blind to see that Mercedes is tricking him as she is with the rebels yet working for him as a spy; he doesn’t suspect her because in his eyes, her low status and gender makes her inferior to him. The blood red walls and church like, old architecture of the Pale man’s rooms could be representative of the human body and how it mirrors that of the intricate details of the insides, which could also implicate a recognition of the many people who died and shed blood in the war. Alternatively, this could also refer to the reoccurring theme of puberty and fertility throughout the film.

ISP Week 6 – HOFD

China’s Tang Dynasty

Early 6th century China was divided by north and south, later to be brought back together in 581 A.D by the Sui dynasty lead by General Yang Jian, until 617 A.D.

Li Yuan founded the Tang dynasty between 618 and 906 A.D, it was regarded as the golden age of Chinese imperial power, art and culture. It influence spread across Asia, particularly through Buddhist practise.

This era was considered the Golden Age of China because of its advancements in technology, medicine and trade. The foundation of their greatness was from the emphasis put into study which led to stronger leadership and ideas. Some invention examples from the golden age include; gun powder, steel, flame throwers, porcelain and woodblock printing.

Some important historical figures were Taizong, Empress Wu and Emperor Xuanzong.

Taizong was Li Yuans son, the founder of the Tang dynasty, and killed his family in order to retrieve the throne. His main achievement was earning title ‘Great Khan’ after taking over part of Mongolia and using Turkish soldiers to fight eastern Asia.

A map of the silk road

Empress Wu was significant as she was the first and only female ruler. She ruled the Tang Dynasty and in her reign strengthened the millinery, and also announced a new dynasty, Zhou.

Emperor Xuanzong was the longest reign of the Tang Dynasty, in the early half he was diligent and he reformed the economy particularly on the Silk Road which was for trade. He began the golden age through passion for creativity and music, and has an influence on traditional chinese music. His reign was responsible for the unique and traditional architecture of temples.

ISP Week 5-La La Land and BOTSW factsheet powerpoint

ISP Week 4 (BOTSW)

In the film Beasts of the southern wild, Zeitlin aligns the audience with Hushpuppy. This is done through the use of camera alignment with her, she is followed on a handheld camera which also amplifies the fact that the film is set in the wild, a documentary style, enabling spectators to feel close within the same environment as the characters. We are further aligned with Hushpuppy through the way she narrates; in the opening scene our first impressions are of her thoughts and feelings, the audience is viewing actively as we are directly hearing her own thoughts and views on the world, as well as learning with her. Another way viewers may be left feeling is empathetic for Hushpuppy, as we see she is being abused within the relationship with her father- he treats her like she is another of their animals when we first see him he is feeding them, telling her to share with the dog. This is different to Hushpuppy as she also treats people like animals, in the way that she listens to their heartbeat and treats them with care. Although some viewers may not feel sympathy for Hushpuppy, as she proves her confidence and braveness throughout the film, her level independence being odd for a child her age.

Articles

The Atlantic Article

‘It portrays the poor community as too vibrant or too joyous’.

The article expresses that the film glorifies and glosses over what poverty is really like, making it seem like something fun or an ideal lifestyle- it is an inaccurate outlook on real life poverty.

‘These basic features of modern life… are represented as oppressive institutions, places we need to escape.”

This is suggestive of the fact that places like hospitals or institutions are wrongly identified as bad, as they are places we go to help us and encouraging them to look bad is wrong.

‘The viewer should leave the film with a greater understanding of the way that complicated political histories can make people distrustful of institutions widely perceived as universal goods. A more nuanced interpretation is that an effective institution must treat the people it hopes to serve with compassion and sensitivity.’

This comments on spectatorship and how the viewer should feel, talking further about how hospitals and institutions are viewed negatively.

https://beastsofthesouthernwild.com/news/a-dialogue-about-race

‘romanticizing people who don’t have the sense to come in out of the rain.’

This is suggesting that the film glorifies and romanticises the way the people in the bathtub live as if they don’t know what they are doing. Making a different lifestyle that is not of the norm, into a fantasy/ story when people really do live like this

New republic Article

This article talks a lot about the glossing over of reality of poverty

‘It depicts the harsh realities of poverty but then aestheticizes it.’

‘poverty into a kind of sentimental, specious poetry’

suggesting that poverty is made into an ideal life or one that seems run, not ignoring some of the harsh realities of it but glossing it over to make it seem almost fantastical.

ISP Week 1 (Yr2)

^{La La Land critical reviews}

1. New York Times article 15.02.17

Film critics have divided opinions on La La Land- in the New York times article some critics say they loved the film, “a visual poem and a timely escape from all the tension in our lives”- the romance of the film and following the characters love story drew people in and kept their attention. ‘Escape from all tension’ could apply to the way Chazelle potentially uses the idea of escapism by not bringing much attention to the black history of Jazz and leaving out the politics to instead focus on the struggles of the characters, although many viewers see this as ‘glossing over’ the significance of black history and the racial conflict in LA, where the film is set.

For others the film didn’t meet the standards of a musical, “A musical can be more than just a meet-cute song-and-dance escape; it can also be an opportunity to push the form forward” as a new Hollywood musical some critics thought it could have been done much better- starting with more fitted actors as Ryan Gosling and Emma Stone didn’t meet the criteria – “Let’s face it, they can’t really sing or dance.”. Others were disappointed that Broadway stars weren’t given the chance to shine in their speciality in the roles, rather than them being “big box office” stars cast to draw in viewers. Although, a dance critic claims that the stars are not completely the problem, “The trouble isn’t the mediocre singing and dancing skills of Ryan Gosling and Emma Stone; their amateur efforts are charming. The trouble is the earthbound, almost place-holder quality of the music and choreography” but the choreography that lacks rhythm and poetry. Despite the critical views on dance, the performances of Gosling and Stone had viewers believing in their chemistry, “I believed in them as lovers and wanted their characters to stay together.” as actors who had worked together previously, they have a strong connection and this proves to make the bond seem more emotional and believable as Mia and Seb.

Many critics favour the emotional ending of the film-“one reason I ultimately liked the film is its unexpected ending”,”Oh, and that ending — it’s surprisingly perfect.” the time jump 5 years into the future is a popular yet unexpected ending, breaking tradition for a musical. There was some criticism on the ending,” So as the movie toyed with alternate endings, I could not help imagining my own.” suggesting that the unexpected didn’t work for every viewer.

2. New Yorker article 12.12.16

In what ways is La La Land derivative but also original?

La La Land is an original creation written for the film, although derivative in the way that it is another film set in LA with two a-list actors playing a couple who inevitably fall in love, as seen in many other Hollywood films. In terms of comparing the film to past musicals and films from the golden age, it is not very original, but in 2016 to have random song and dance break-outs is more rare making it original to films being made currently.

What is positive but also questionable about the film’s opening and enduring image of Los Angeles?

The opening scene shows a busy road in a traffic jam, where the people get out of their cars and sing and dance together in sync. This is an ironic reaction to a traffic jam as normally people would be frustrated and impatient with eachother. The immediate break into song is what introduces us to the film as a musical and may lead viewers to believe the film to be about diversity and community for a positive statement, but this ends up being the last we see of such a diverse crowd.

What is thematically significant about Mia and Seb’s career ambitions?

Both characters have strong ideas about their futures, although both are also far-fetched and seem like the American dream/a fantasy rather than an actual career- many people would have the same aspirations as Mia to become an actress and the film shows her struggles of getting there. Sebastian’s ambitions are seemingly more successful than Mia at the beginning as he is playing piano for a restaurant, although gets fired, also showing his struggles.

What effect on the spectator is achieved by shooting the film on Technicolor film?

The film uses makes all the colours pop, particularly when showing the mood of a scene, the high saturation and neon colours show the way the film is supposed to be fantasy like and like a dream, similar to the way we might edit pictures to seem more colourful than they actually are. For example when Mia and her friends all dress-up to go out, their dresses all match together in the way that the colours pop, also showing the positive and happy mood.

What criticisms might be made of the singing and dancing? Why might these criticisms be missing the point?

The criticisms of the musical aspect of the characters performance is that actors Ryan Gosling and Emma Stone are A-List stars, rather than Broadway stars, who’s jobs are to excel in singing and dancing, unlike the well-known Hollywood actors. This suggests the cast should have been more Broadway based, although this could be missing the point as the characters are dreaming of having careers in Hollywood, and are supposed to seem more down to earth and mundane rather than to seem like professionals.

The article seems critical of the narrative structure. Why? Do you agree? Why/not?

In the article, the writer states to think that the film goes downhill in the second half, as although the characters get their dreams, there is a feel of roads not taken by them. The writer thinks that the ending is a further way that the idea of fantasy is in-cooperated into the film as it switches between the reality and the imagined ending. I agree, i think that although the ending is different to the norm of romantic films where they live happily ever after together, it is quite indecisive.

Why might Lane want to encourage seeing the film at a good quality cinema?

This might be because seeing a film on the big screen with loud speakers is the best way to view a new, different film that can bring many emotions to viewers. It could also be because the film is inspired by so many old musicals, people now especially kids might not get another oppurtunity to see a film like that in cinemas.

GRFP- Summer 2020

Component 3 Planning

Researching short films

When the day breaks

Characters

The chicken is immediately shown, suggesting his importance and introducing him as a protagonist. Another way his importance is implied is through the way he is dressed in a suit and seems like he has to be somewhere.

The next shown character is the pig, she seems very carefree and happy, shown in the music playing and her body language- shes singing and dancing.

Binary oppositions

Human vs animal – whilst the characters are all animals, none are shown to be the same animal suggesting a world similar to how humans are not the same either. Their homes, items and clothes all suggests humanity in them and how they behave.

Life vs death – the short film explores this binary opposition through the montage of pictures of death (bones, the chicken being run over) and then images of the chickens life and relatives all the way back to the beginning of chicken eggs. Also through the way the pig lives her life selfishly not thinking of others without realising until she witnesses the chicken die and changes her perspective.

Messages and ideas

The lack of dialogue and input of close sonic perspective and music creates a slightly uncomfortable soundtrack, matching the theme of death which is also uncomfortable.

The focus on the lemon that the chicken bought and dropped when bumping into the pig, could be reflective of the well known quote “when life gives you lemons”. This could be a sign for the pig to be more grateful about what life brings and more aware of others lives.

The different types of animals making up the town yet they are all connected shows the humanity that we dont see in animals, making them come across just as human as we are and feeling emotions like we do, which could be an animal rights view on the world.

How the film makes you feel/what do you think about?

The short film makes me think of the way we all take life for granted, upon first seeing the chicken you dont expect him to die and was unexpected, showing how life can have many twists that you cant prepare for. This is also part of the cycle of life and death which the film also makes you think about, through the montage particularly showing how important the chickens life was even though he was just a stranger- even if you dont know someone they all have stories and experiences that are unique, but the cycle connects everyone.

High Maintenance

Characters

The protagonist is presented to be the woman, as she is the first character we see and is shown to have the dominance over the man. The camera focuses on her expressions and her actions.

The man, her husband, is shown as a bit of a mystery and we are seeing him from an over the shoulder shot in low light, suggesting he is not of much importance.

Time and place

The setting is of the couple having celebratory dinner in their home, of their anniversary which is seemingly very important to the woman and not so much to the man.

When she is bored of him, he is revealed to not be human and has an off switch, and she proceeds to find a new husband to have dinner and celebrate an anniversary with. This makes the audience question whether the anniversary is real, or the woman is living in a cycle where this dinner is repeated, creating a warped sense of time.

Narrative

The film doesn’t start off with a clear narrative, although we come to realise that something is off between the characters – their body language and actions dont seem human. This story is focused on the woman and her lack of happiness within her relationships, hence trying to replace her husband only to be taken advantage of, by the new model.

Binary Oppositions

Robot vs Human – Both the woman and the man act robotically and speak bluntly, until the woman gets angry at the man for not drinking and has an angry fit which is so far, out of character; the husband barely reacts. It could be that once the new husband arrives, she is now the robot and him not. He switches her off and seems smug suggesting he has more emotions and acted otherwise to come across different.

Woman vs man – a conflict between the husband and wife, she seems to be more dominant and angry, whilst he shows little emotions and is not revealed much by being kept in lowkey lighting and often seen from over the shoulder shots. They are rarely in the same shot suggesting they are not connected or on good terms. Perhaps they don’t know eachother as well as made out, because of the repetitive cycle of the woman getting new models.

Messages and ideas

The way the woman is living in a cycle, could suggest how she will ever be completely happy as a part of a consumerist society as the standards are high in products and to be satisfied is rare.

To begin with, the power the woman had over the man was clear especially when she switches him off easily on her own accord. Perhaps the world in which this story is set is run by women, the person on the other end of the line was a female, as were the two delivery people. Men are under their influence until the end where that twists.

How the film makes you feel/what do you think about?

Feelings of tension and uncomfortableness are created through the use of action/reaction shots between the two characters showing them in a conflict, as well as the close sonic perspective of chewing and eating food at the table.

There is no sense of empathy and unlikely for viewers to relate to the characters, due to their distant and blunt personalities, the characters might make a viewer feel uncomfortable, particularly the woman who seems to feel nothing towards the man.

The Grandmother

Characters

The parents are portrayed as inhuman- they are pale and seem to move like an animal, coming across as eerie and emotionless. When they say the boys name, it sounds like a dogs bark. A shot of the father is in lowkey lighting and comes across as very creepy.

The boy is pale and emotionless just like the parents, although this seems out of place for a child suggesting he is neglected/ abused by his parents.

The boy emerged from the ground and was left alone in the trees, and later grows a grandmother from a seed, suggesting both these characters have a connection with nature, whereas the parents do not share this.

Time and place

The setting is in the family’s home, which is extremely dark and lit in lowkey lighting, coming across as eerie and cold.

Some scenes are shot outside of the house, mainly at the beginning showing the start of the boys life and him coming from nature. The outside scenes are important because of his and the grandmothers connection to nature

Narrative structure

Set up in a linear structure, we are shown the beginning of the father and mother, and then the boy. It is clear the main issue is that he is neglected by his parents, the first scene in the house shows him alone in a dark room and a bright white bed showing his isolation.

The use of animation included within the shots, creates a sense of ambiguity and mystery, leaving viewers to infer for themselves

Instead of dialogue there is music and noises which creates the tension between the parents and the boy

Binary oppositions

Adult vs child – The parents have a dominance over the boy, they make him feel neglected and abuse him, whilst the grandmother cares for him and is clear she has a connection with him.

Nature vs the house – the boy has a strong connection to nature, in the scenes outside he is shown to look more human as apposed to in the house where he is pale and trapped inside. The beginning shows he grows from the ground, perhaps he is made to be outdoors yet is kept indoors and therefore miserable

Messages and ideas

The way the boy deals with his parents neglection, shows the effect that abuse has on young children- he uses his imagination to escape from the reality, and only seems himself and alive when he is outside and not trapped by his parents.

The grandmother is all in his head as an escape from his parents- his ideal life and how he wishes he could simply grow someone to care for him.

La Jetee

Characters

As told by the narrator, the protagonist is a man part of a tale-like story. We are aligned with him through his POV throughout, this is his take on the story.

An unnamed woman is another character, although it is unclear his relation to him or if she even exists outside of his mind.

Time and place

Set in Paris, France which is clearly shown at the beginning, as well as dark images with text on telling the events at the time the film is set – the future of WW2.

The time is ambiguous in the film, there is no straightforward timeline as the characters travel in time creating the illusion of movement.

Narrative

The theme is time and movement, shown through the way there are many still shots yet zooming in or music tells viewers there is more behind the still image, which creates this image that these characters are trapped in some sort of time travel.

The use of enigmas creates confusion yet interest, we are unsure of the womans presence being real or not, no names are given to the characters.

Assessment

FILM PAPER COMPONENT 1 

Section A: blade runner and Casablanca 

1.1. Compare how camera or editing techniques create meaning in a key sequence from each of the films you have studied (20) 

Blade runner, directed by Ridley Scott (1982) produced during the New Hollywood era and Casablanca, directed by Michael Curtiz (1942) within the Classical Hollywood era. Both these films use camera and editing techniques to create meaning throughout, showing the difference in the eras each film was made as well as similarities. 

Within Casablanca, Curtiz follows key features of the Classical Hollywood era, for example the use of continuity editing and the 180-degree rule. In the opening of Casablanca, continuity editing is used to show the panic and threat of Casablanca being a dangerous place, as well as creating meaning through the representation of narrative logic, cinematic time and space – all features of Classical Hollywood. This is similar to the continuity editing used in Blade Runner through the majority of the film, although the difference between Casablanca and Blade Runner is that the continuity in Blade Runner is broken through the scene of the unicorn which doesn’t follow the main narrative. The unicorn scene is presented as a mythical and fantastical flashback, by using a cross –fade, which has the effect of a dream or vision. The break from continuity also makes this scene more mysterious and incidental. Curtiz also uses flashbacks in Casablanca with cross fades, which creates meaning by adding to the narrative and the continuity editing- for example when Rick has a drink and there is flashback to Paris. 

Both Curtiz and Scott use similar tracking shots –the Dolly shot was something not known to Classical Hollywood era and was subjective to Curtiz as an autuer. During the opening of both films, a tracking camera shot is used to introduce the protagonists, in Blade runner whilst Deckard is reading a newspaper and in Casablanca its made to seem as if it’s the man who gets shot through the use of a tracking shot, but the camera enters the café and closes in on Sam. 

1.3 Compare the ways in which the films you have studied reflect the messages and values of the times in which they were made. Refer to key sequences in your response, (40) 

Blade Runner a New Hollywood film ( Ridley Scott 1982 ), and Casablanca, a Classical Hollywood film (Michael Curtiz 1942) both reflect the messages and value of the times that they were made, particularly politically and socially. Both films include comments on the political negatives of society in their period, which mirrored the fear that people felt after war. In Casablanca, there is a positivity around the ideological message of the end of American isolation and them joining the war, alongside the fears that people felt of WW2. Although In Blade Runner, being after the Vietnam war and during the Cold war, the fears and worries are projected more negatively. The message of the people living in fear reflects the society and politics of the time for both films; in Casablanca an important part of the mise en scene is the date of Pearl Harbour written on a cheque- linking to the film through the way it occurs over the 4 days leading up to the tragedy which could imply the political tension and worries at the time, as well as Rick representing the way the American isolation ends due to this. However, in Blade Runner, there is more focus on the fear of post- Vietnam war and current Cold war and the development of new technologies and industrialisation to the extent that the world will be completely different. A further social message in the film is the fear behind global warming deteriorating, which Scott implies with the set being rainy and dark, as well as having smoke and fog in the background. A similarity between the films is that they both include a theme of surveillance through the use of search lights, creating fear and paranoia within the characters, and the idea that there is a higher, threatening authority and what happens due to both wars is out of anyone’s control. This is relevant for Blade Runner particularly, as there was a fear of dictatorship arising. 

A common theme in both Casablanca and Blade Runner is the refugees’ plight, which in both films links to the societal changes at the time and gives a message to the audience reflecting the multicultural societies as a result of immigration. In Blade Runner, the city of LA is seen to be dominated by Asian and middle eastern culture which is due to the increase of immigration from Asia to America in the 1980’s- although is presented as a normal thing and a fixed part of society. However, in Casablanca, the refugees are an important theme of the film shown through mixed cultures as a result of the Nazi’s and the Vichy French control, which puts the refugees in a submissive place under control and therefore projects a message that they were the victims of the war. The way that the refugees are under the control of the Nazi’s and that the immigrants in Blade runner and the middle eastern dominated society is based with them living and working on the crowded streets whilst white, wealthy people get to live further into the city suggests a negative stigma around refugees and how they are at the lower of the class divide. Although both films present immigrants as lesser, the theme of refugees also has a large influence on both films suggesting a change in society and a need for acceptance at the times of making.  

SECTION B: Beasts of the Southern Wild 

2.1 Examine how the use of sound creates meaning for the spectator in one or two key sequences from your chosen film. 

In the opening of Beasts of the Southern wild, meaning is created through the use of sound during the introduction of the Bathtub-  the upbeat music and laughter makes it seem like a happy, positive place despite there being deeper issues that are purposely not surfaced to show the strength of the community of the bathtub and how close they are – creating a world different to what the audience would know. The music and happiness in the bathtub is also used to paint the polluted city in a negative light and introduce a binary opposition – a world outside of the bathtub is bleak and boring. The use of Hushpuppy’s voiceover positions the spectator with her, which is meaningful as we take her on as the protagonist and see the bathtub through her POV which seems to be exciting and happy. The sounds of babies crying may make viewers start to realise that the bathtub is not as perfect as Hushpuppy makes it out to be, and therefore the viewers could perceive her as naïve and have empathy towards the children of the bathtub who are being neglected.  

FILM PAPER COMPONENT 2 

SECTION A:  British film – Moon and Under the skin 

1.1 Explore how cinematography creates meaning in a key sequence from each of you chosen films.  

In the ending sequence of Moon, cinematography creates meaning through the use of camera angles and movement. The two shot of the Sams in the moon buggy could be suggestive of the way they share their life, just like they are sharing the image. The camera lingers on younger Sam, indicating his importance and a change in protagonist as the older Sam dies and leaves the responsibility to the younger Sam, just like responsibilities eventually have to be passed from older to younger generations. The use of camera techniques like close-ups and POV shots align the audience with the younger Sam presenting him as the protagonist, and at the same time with his perspectives representing the younger generation – revolution, want for change and curiosity. In the scene where the men from Eliza discover the older Sam dead, a low angle shot making it seem from his POV shows an artificial light from a torch which could represent Sam’s going to heaven/dying, although the artificiality of the light brings back the fact Sam himself is also artificial. Older Sams death then leads to the third Sam, where the camera makes him seem distant and irrelevant with the high angle shot and the laboratory atmosphere and artificial lighting reminds the audience that this Sam is another that will be exploited and treated like an object or slave. 

1.3 ‘Most film plots lead to a predictable narrative resolution.’ How far is this true of the endings of the two films you have studied? 

SECTION B: Non-English Language European film – Pan’ Labyrinth  

2.1 Explore how lighting and colour create meaning in one key sequence from your chosen film. (10) 

In the opening sequence of Pan’s Labyrinth (Del Toro, 2006), lighting and colour create meaning through creating a contrast between the fantastical underworld realm and the real world. This contrast is shown through lighting, the underworld lit in lowkey light, with a distinct colour palette of blue and darker colours as well as cold lighting, making it less appealing than the real world, being lit in natural lighting and a palette of golden colours. This creates meaning through the way Ophelia is shown running up from the underworld into the real world, into a bright light, which could be foreshadowing the death of Ophelia and representing her as the lost princess. The constant conflicts of lighting and colour between the two realms could be reflecting Ophelias internal conflict of her experiencing childhood and puberty.  

2.3 Explore the representation of a female character in your chosen film. Use key sequences to illustrate your response.  (20) 

 In Pan’s Labyrinth, Del Toro presents the oppression of females at the time of Spain in the 1940’s, the fascist patriarchal systems of authority having this influence. Throughout the film there is a binary opposition in terms of gender, where males characters like Vidal hold more power, whilst females forced to be more passive. Mercedes, Vidal’s main housemaid, is an example of women suffering under the patriarchy.  

Although first presented as a shy, passive character under the command of Vidal, Mercedes’ strength improves gradually and she shows empowerment by defying the gender boundary set by Vidal who undermines women and sees himself as superior, which is ironic as he underestimates her skills –ending up being a consequence of his demise. Mercedes gets away with supporting the rebels and smuggling supplies for her brother due to Vidals undermining of women. In the sequence where Vidal discovers Mercedes, she is tied up- which could be indicative of the way she has felt tied up and restricted as her time as a housemaid-  to be tortured and Vidal, despite already having been played by her, turns his back becoming vulnerable and she gets free and stabs him multiple times. The hidden knife that Mercedes carries throughout the film could be representative of the difference in gender roles- she has to hide a part of her identity because it doesn’t match the social standards of women; the knife could alternatively represent the fear that women feel in such patriarchal systems, where men are threats. The high angle shot of Vidal and low angle shot of Mercedes, ju from the beginning of the scene where Mercedes is being shown as vulnerable and the audience empathise with her, signifies the character development of Mercedes, and proves her strength.  

By resisting Vidal and the fascists, as well as becoming a close ally/carer for Ophelia, Mercedes is painted in a more of a positive light and is seen as a good character because of her strong compassion and will. Despite the way she is portrayed as subservient through the character of a housemaid, Mercedes is presented as stronger than the men in the film because of her empowerment, and she is shown to have a bigger impact with the film ending with Vidal’s death.  

ISP Week 28- La La Land

Initial response

I’d seen it before and enjoyed it- watching it again i thought i remembered more to happen and that it was longer. I think the musical aspect doesn’t work very well- although some of the numbers and dances were good and i enjoyed them. The narrative is quite interesting and the characters make it emotional especially at the jump into the future at the end. I like how the film is set on two normal people who have dreams and we see their struggles to get there, but they do- and also how the film emphasises the importance of film and music.

Critics- love or hate article

Film critics have divided opinions on La La Land- in the New york times article some critics say they loved the film, “a visual poem and a timely escape from all the tension in our lives”- the romance of the film and following the characters love story really brought some of them in. For others the film didnt meet the standards of a musical, ” A musical can be more than just a meet-cute song-and-dance escape; it can also be an opportunity to push the form forward” as a new hollywood musical some critics thought it could have been done much better- starting with more fitted actors as Ryan Gosling and Emma Stone didnt meet the criteria – “Let’s face it, they can’t really sing or dance.”. Others were disappointed that broadway stars werent given the chance to shine in their speciality in the roles, rather than them being “big box office” stars.

Although a dance critic claims that the stars arent the problem, “The trouble isn’t the mediocre singing and dancing skills of Ryan Gosling and Emma Stone; their amateur efforts are charming. The trouble is the earthbound, almost place-holder quality of the music and choreography” but the choreogrpahy lacks rhythm and poetry- and improves when the film becomes less like a musical.

Many critics favour the emotional ending of the film- “one reason I ultimately liked the film is its unexpected ending”, “Oh, and that ending — it’s surprisingly perfect.” the time jump 5 years into the future is a popular yet unexpected ending, breaking tradition for a musical. There was some criticism on the ending,” So as the movie toyed with alternate endings, I could not help imagining my own.” suggesting that the unexpected didnt work for every viewer.

Easter work: Spectatorship

What is it?

Spectatorship is a concept in film theory, which looks at the way that people view films and build specific relationships with them. It understands the way that the film produces pleasure in each viewer.

Types of responses

Cultural self- viewer makes intertexual references based on awareness and what they have seen before.

Social self- viewer makes meanings similar to other people with the ideologies.

Desiring self- viewer has ideas that are little to do with the film, brings their own energy and mindset.

Private self- viewer finds their own meaning in a film due to own experiences/memories and may find more personal meaning than others.

Classical