We have watched Casablanca as an example of Classical Hollywood Cinema.
The lighting is formalist in the sense that it is Chiaroscuro lighting, with emphasis on the contrast between light and shadow. There is an emphasis on shadows in that film, possibly due to the fact that a lot of the film is set at night, and so they had to create shadow to give that feel. However, Ingmar Bergman (Ilsa)'s face is nearly always evenly lit, putting emphasis on her looks, due to the fact that she is meant to be very beautiful. To a lesser extent, this is also done to the other people, however her face is always the most brightly lit.
The recurring motif of stripes also appears in lighting, with a lot of things like blinds creating stripes of light and shadow.
The sound is inherently formalist due to the fact that the film has a musical soundtrack playing in the background. The music is mostly modeled around two songs: 'La Marseille' and 'As Time Goes By', both of which are played in Rick's Café at some point. The music does suit the mood of the events in the film.
Dialogue is very straightforward, with little or no editing done to it.
The mise-en-scene is pretty realist, with items that are generally what would be at the location. The only really formalist aspect is the inclusion of the recurring motif of stripes, in costumes, chairs, and other things. Other props and costumes are typical of films at the time, and seem to be particularly inspired by film noir detective films.
The camerawork isn't very obviously formalist, but there are hints of formalism in there. One example is that Ingmar Bergman is usually only filmed from a certain angle, particularly with close ups of her face, which are nearly always shot in a 3/4-view from her left side.
Other than that, the camerawork is usually quite still, tending to cut to another camera instead of zooming or panning.
The two main kinds of shots used are long shots for scenes with multiple characters, and close ups of characters' faces if they are saying something important. The latter is used extensively throughout the film.
The editing is continuity editing, typical of Classical Hollywood Cinema, and many other films even today. The main features are:
1) Eyeline match, where a character is looking at something (usually off-screen) and then the camera cuts to a point-of-view style shot of whatever the character is looking at. An example of this is the aeroplane in the beginning of the film, where a crowd looks up at something out of shot, then there is a cut to what they were looking at.
2) Cross-cutting, where two simultaneous chains of events/scenes are intercut, switching from one to the other to build tension. An example of this is the ending, where the events at the airport are mixed with the major in his car.
3) Match-on-action, where if the camera angle changes, the new angle starts from exactly the same point that the previous one left off. This happens a lot in dialogue scenes, where the shot changes from a wider shot to a close up.
4) Directional continuity, where the angle changes, but the new angle is within 180 degrees, so it looks as though the subject is still moving in the same direction. This can be seen near the beginning where the man who gives the letters to Rick is arrested, and the angle changes as he is being taken outside.
All of these devices are used to create a sense of the editing being 'invisible', and it makes the audience focus more on the events as there is nothing to really distract them.
Monday, 20 October 2008
Monday, 13 October 2008
Casablanca
One of the most famous films of the Classic Hollywood Film era is Casablanca. It was made in 1942 by Warner Brothers studio, and starred Humphrey Bogart, Ingrid Bergman, and Paul Henreid.
At the time, Warner Brothers were doing a lot of war films, deciding to focus on war films after the bombing of Pearl Harbour.
It was originally a play called 'Everybody Comes To Rick's'. The play was unproduced at the time, and had been inspired by a trip to Europe by one of the two writers of the play, Murray Burnett. There, he had visited a club very similar to the one at the start of the film.
The film itself was made during World War II, and is set in the war, as many films at the time were. It follows people in resistance against the Nazis. One part of the film that reflects that in particular is the scene known as the 'duel of the songs', where a group of German soldiers start singing 'Die Wacht Am Rhein', but are drowned out by the band, and then everyone else as well, singing 'La Marseillaise', the French national anthem. This is an iconic scene of resistance against the Nazis.
At the time, Warner Brothers were doing a lot of war films, deciding to focus on war films after the bombing of Pearl Harbour.
It was originally a play called 'Everybody Comes To Rick's'. The play was unproduced at the time, and had been inspired by a trip to Europe by one of the two writers of the play, Murray Burnett. There, he had visited a club very similar to the one at the start of the film.
The film itself was made during World War II, and is set in the war, as many films at the time were. It follows people in resistance against the Nazis. One part of the film that reflects that in particular is the scene known as the 'duel of the songs', where a group of German soldiers start singing 'Die Wacht Am Rhein', but are drowned out by the band, and then everyone else as well, singing 'La Marseillaise', the French national anthem. This is an iconic scene of resistance against the Nazis.
Classical Hollywood Cinema
Classic Hollywood Cinema is a style of film that was used during Hollywood's 'golden age' and started in the American film industry in the 1910s and 1920s, and lasted until the late 1950s. It may seem fairly realist at first glance, however it is actually considered a form of formalism.
Three films classified as Classic Hollywood Cinema are: The Wizard Of Oz, King Kong (1930s version), and Citizen Kane.
Features of Classic Hollywood Cinema include the narrative flow being made of small narrative fragments pieced together so the joining up goes unnoticed, sequences that happen at the same time but at different places intercut to raise tension, dialogue scenes being a series of over-the-shoulder shots from the participants, and point of view shots after showing a character's reaction to something.
The intercut narrative used to create tension is a formalist device, as it involves seeming two simultaeneous series of events, which would not be possible in reality. Also, the switching between third-person and point-of-view shots is also quite formalist.
The narrative itself nearly always ends with a solid resolution of the events that happened within the film. This can be considered a minor form of formalism, as this may sometimes involve improbable events.
Three films classified as Classic Hollywood Cinema are: The Wizard Of Oz, King Kong (1930s version), and Citizen Kane.
Features of Classic Hollywood Cinema include the narrative flow being made of small narrative fragments pieced together so the joining up goes unnoticed, sequences that happen at the same time but at different places intercut to raise tension, dialogue scenes being a series of over-the-shoulder shots from the participants, and point of view shots after showing a character's reaction to something.
The intercut narrative used to create tension is a formalist device, as it involves seeming two simultaeneous series of events, which would not be possible in reality. Also, the switching between third-person and point-of-view shots is also quite formalist.
The narrative itself nearly always ends with a solid resolution of the events that happened within the film. This can be considered a minor form of formalism, as this may sometimes involve improbable events.
Monday, 6 October 2008
German Expressionism
German Expressionism is a film style that was common in Germany in the 1920s, shown in films like 'Nosferatu' and 'The Cabinet Of Doctor Caligari'. It has influenced film making hugely, and even modern films use features from the films.
The key features of German Expressionism include distorted sets and props, like the strangely-shaped rooftops in 'The Cabinet Of Doctor Caligari', and dramatic lighting with emphasis on shadows, like the scene in 'Nosferatu' where Count Olaf's shadow is seen going up the stairs. In some scenes in German Expressionist films, the shadows were painted on the sets to make them more distinctive. In many films of that genre, the characters and their actions are symbolic, and the acting is very exaggerated and over the top, partially due to the need to show what is happening, despite the restrictions of lack of sound and very basic film equipment. The actors usually have a very distinctive appearance, with very dark makeup around their eyes.
Due to the technological restrictions of the time, the editing is very straightforward, with fairly long cuts, and the sound is restricted to the music used throughout.
The influences of German Expressionism are seen in many film styles over time. Film Noir used the same dramatic, shadowy lighting techniques, as do a lot of modern horror films, particularly those after a gothic/gloomy feel. The distorted sets and props are used in many films when a surreal feel is needed in many genres. The acting style has since mostly disappeared when dialogue was added to films, and cameras became better, allowing for actors to show emotions in more subtle ways.
There are also a lot of direct references to specific films, or scenes in those films, especially the two films mentioned above, such as the video for Living Dead Girl by Rob Zombie, which is extremely similar to 'The Cabinet Of Doctor Caligari'.
The appearance of characters from German Expressionist films has also influenced modern films like 'Edward Scissorhands' and 'The Crow', both of which use the shadowed eyes and dark clothing on their main characters. These films also use shadowed lighting and strange sets.
The key features of German Expressionism include distorted sets and props, like the strangely-shaped rooftops in 'The Cabinet Of Doctor Caligari', and dramatic lighting with emphasis on shadows, like the scene in 'Nosferatu' where Count Olaf's shadow is seen going up the stairs. In some scenes in German Expressionist films, the shadows were painted on the sets to make them more distinctive. In many films of that genre, the characters and their actions are symbolic, and the acting is very exaggerated and over the top, partially due to the need to show what is happening, despite the restrictions of lack of sound and very basic film equipment. The actors usually have a very distinctive appearance, with very dark makeup around their eyes.
Due to the technological restrictions of the time, the editing is very straightforward, with fairly long cuts, and the sound is restricted to the music used throughout.
The influences of German Expressionism are seen in many film styles over time. Film Noir used the same dramatic, shadowy lighting techniques, as do a lot of modern horror films, particularly those after a gothic/gloomy feel. The distorted sets and props are used in many films when a surreal feel is needed in many genres. The acting style has since mostly disappeared when dialogue was added to films, and cameras became better, allowing for actors to show emotions in more subtle ways.
There are also a lot of direct references to specific films, or scenes in those films, especially the two films mentioned above, such as the video for Living Dead Girl by Rob Zombie, which is extremely similar to 'The Cabinet Of Doctor Caligari'.
The appearance of characters from German Expressionist films has also influenced modern films like 'Edward Scissorhands' and 'The Crow', both of which use the shadowed eyes and dark clothing on their main characters. These films also use shadowed lighting and strange sets.
Friday, 3 October 2008
Run Lola Run - A formalist film
This afternoon, we watched the film 'Run Lola Run', which is a modern example of a form of formalist film making.
The film uses a formalist narrative, where the same twenty minutes are repeated three times, and in each one, subtle differences end up affecting the plot in big ways. In each scenario, minor characters also are affected by the events, with the narrative briefly showing what happens to the character through a series of snapshots.
Other formalist devices are used, one of which is the use of animation in the credits, and in the sequence where she runs down the stairs, which is the only part of the main narrative portrayed in animated form.
Another major formalist feature is the camerawork. A lot of extreme close ups are used, as well as bird's eye views and worm's eye views, the latter of which is also a point-of-view shot. One example of formalistic camerawork is the sequence where Lola throws the telephone receiver in the air, and the camera follows it, with multiple angles on it, looking up, down and on a level.
Closely related to the camerawork is the editing. Most of the transitions are jump cuts, and in one sequence, where Lola is running across the bridge, and the angle keeps changing from a side view to a front view. The film also uses split-screen at points to show what two characters are doing at the same time.
The lighting is mostly realistic, except in the scenes between each series of events, where the lighting is red. The mise-en-scene is also mostly realistic, but there is an emphasis on red objects, possibly to link to Lola's red hair, some objects being the telephone receiver, the man's bicycle, and the ambulance.
The film uses a formalist narrative, where the same twenty minutes are repeated three times, and in each one, subtle differences end up affecting the plot in big ways. In each scenario, minor characters also are affected by the events, with the narrative briefly showing what happens to the character through a series of snapshots.
Other formalist devices are used, one of which is the use of animation in the credits, and in the sequence where she runs down the stairs, which is the only part of the main narrative portrayed in animated form.
Another major formalist feature is the camerawork. A lot of extreme close ups are used, as well as bird's eye views and worm's eye views, the latter of which is also a point-of-view shot. One example of formalistic camerawork is the sequence where Lola throws the telephone receiver in the air, and the camera follows it, with multiple angles on it, looking up, down and on a level.
Closely related to the camerawork is the editing. Most of the transitions are jump cuts, and in one sequence, where Lola is running across the bridge, and the angle keeps changing from a side view to a front view. The film also uses split-screen at points to show what two characters are doing at the same time.
The lighting is mostly realistic, except in the scenes between each series of events, where the lighting is red. The mise-en-scene is also mostly realistic, but there is an emphasis on red objects, possibly to link to Lola's red hair, some objects being the telephone receiver, the man's bicycle, and the ambulance.
Wednesday, 17 September 2008
Lighting - experimental film
In the last lesson, the class started to make a short experimental film.
I was on the lighting team. Over the weekend, I had compiled a lighting script of ideas as to how we could light the scene, with different lists of suggestions for extreme close ups, close ups, medium shots, long shots and extreme long shots.
In the lesson, my group set up the lights and arranged them so they would light well without being in shot or casting any unwanted shadows. There were three lights, so we had one each. I attached a dark purple filter onto my light. After some experimentation, we found out that my light was good for bleaching out shadows and muting colours, so my light was used to balance the other, brighter coloured lights and to create a kind of surreal half-light.
In addition to operating my light and helping set up/put away the equipment, I also helped the other people who were in my group by suggesting which colour combinations would go well at different points.
I was on the lighting team. Over the weekend, I had compiled a lighting script of ideas as to how we could light the scene, with different lists of suggestions for extreme close ups, close ups, medium shots, long shots and extreme long shots.
In the lesson, my group set up the lights and arranged them so they would light well without being in shot or casting any unwanted shadows. There were three lights, so we had one each. I attached a dark purple filter onto my light. After some experimentation, we found out that my light was good for bleaching out shadows and muting colours, so my light was used to balance the other, brighter coloured lights and to create a kind of surreal half-light.
In addition to operating my light and helping set up/put away the equipment, I also helped the other people who were in my group by suggesting which colour combinations would go well at different points.
Thursday, 11 September 2008
Formalism and Realism - The Cabinet of Doctor Caligari
'The Cabinet of Doctor Caligari' is a German film from 1920. It follows a young man, Francis, as he tries to find the murderer of his friend. His friend was killed soon after a travelling circus act, Doctor Caligari and the somnambulistic fortune teller Cesare, told him he was going to die.
The film uses many things to suggest the delusions of a madman.
The film uses tinted film to create atmosphere, but this was a very common technique at the time. However, there are other things that suggest unreality. First of all, the plot device of a fortune teller who sleeps all the time, but tells predictions while he dreams. The props are often skewed or at an angle, giving a dreamlike atmosphere, and the camera is usually far away, suggesting a kind of detachment. This creates a surreal, formalist air.
The ending is also rather formalist, as it turns out that the events were all the imaginings of a madman.
The film uses many things to suggest the delusions of a madman.
The film uses tinted film to create atmosphere, but this was a very common technique at the time. However, there are other things that suggest unreality. First of all, the plot device of a fortune teller who sleeps all the time, but tells predictions while he dreams. The props are often skewed or at an angle, giving a dreamlike atmosphere, and the camera is usually far away, suggesting a kind of detachment. This creates a surreal, formalist air.
The ending is also rather formalist, as it turns out that the events were all the imaginings of a madman.
Sunday, 7 September 2008
One film that has inspired my idea:
A film that I have decided to use as inspiration for my project is 'The Ghost', a Korean horror film made in 2005, directed by Kim Tae-Kyung.
Three points of inspiration are:
1) The idea behind the plot. 'The Ghost' uses amnesia and the accompanying confusion about identity to create atmosphere because the ghost in the story seems to be tormenting the characters for no reason. I have decided to use a plot that involves a similar idea, but I will be focusing more on the psychological aspect as opposed to the supernatural.
2) The device of dreams and flashbacks. 'The Ghost' uses these very well to reveal what has happened without giving away the entire plot. I have decided especially to use the idea of the haunting mostly manifesting itself through nightmares, and hints as to what has happened appearing in these nightmares.
3) The lighting. 'The Ghost' uses green and blue lighting to create a chilling atmosphere, as opposed to the usual lighting colour used in horror movies, which is red. I am also going to try to use different colours and lighting methods in my project.
Three points of inspiration are:
1) The idea behind the plot. 'The Ghost' uses amnesia and the accompanying confusion about identity to create atmosphere because the ghost in the story seems to be tormenting the characters for no reason. I have decided to use a plot that involves a similar idea, but I will be focusing more on the psychological aspect as opposed to the supernatural.
2) The device of dreams and flashbacks. 'The Ghost' uses these very well to reveal what has happened without giving away the entire plot. I have decided especially to use the idea of the haunting mostly manifesting itself through nightmares, and hints as to what has happened appearing in these nightmares.
3) The lighting. 'The Ghost' uses green and blue lighting to create a chilling atmosphere, as opposed to the usual lighting colour used in horror movies, which is red. I am also going to try to use different colours and lighting methods in my project.
Saturday, 16 August 2008
New inspiration
Recently due to various happenings, I have fallen behind in my work, and so I am still on the stage where I am forming ideas.
I have decided to stick with the idea of atmospheric horror, and I am now looking at ways in which I can use the idea, and how different techniques in lighting, camerawork and sound effects can add to atmosphere.
I have found this video on YouTube.
It is an animation, which means I cannot directly take the style. It also doesn't have a story or dialogue, which are both needed in this project. However, the lighting in this is very good, and the music is effective. The jumping transitions and use of surreal props also serve to unnerve the viewer. I will definitely look into how I can create similar lighting, and, if possible, find similar sound effects, particularly the high-pitched scraping/squeaking noise.
I have decided to stick with the idea of atmospheric horror, and I am now looking at ways in which I can use the idea, and how different techniques in lighting, camerawork and sound effects can add to atmosphere.
I have found this video on YouTube.
It is an animation, which means I cannot directly take the style. It also doesn't have a story or dialogue, which are both needed in this project. However, the lighting in this is very good, and the music is effective. The jumping transitions and use of surreal props also serve to unnerve the viewer. I will definitely look into how I can create similar lighting, and, if possible, find similar sound effects, particularly the high-pitched scraping/squeaking noise.
Saturday, 28 June 2008
Small update - 'thought shower' - idea 1
I have been trying to think of ideas for what my project could be about/utilise. I have been thinking about the kinds of films I watch a lot of, and enjoy, as well as certain parts I particularly like.
I have thought of using an atmospheric horror style. Not the explicit gore and screaming, because - as far as I can see from the previous students' films - this has been used a lot.
I want to explore the more subdued kind of horror that uses the viewer's mind.
One scene, which, unfortunately, I haven't been able to get a clip of, is the scene in '28 Days Later', where the main character (Jim) has exited the hospital he was in to find himself in a London that is completely deserted.
For the most part, 28 Days Later is the kind of film I don't want to do, as it has a lot of very physical screaming-monster-and-bloody-violence horror.
However, the scene I mentioned earlier, with a seemingly empty London, is brilliant, and has that kind of chilling atmosphere I am looking for. The sickly, pale yellow colour cast on the light, which is used quite a bit at the beginning of the film, is very effective, and the soundtrack used is spot on. It's a remixed version of 'East Hastings' by Godspeed You! Black Emperor. I think the section of 'East Hastings' used is 'The Sad Mafioso'. It really does send shivers down your spine if viewed properly.
I am not planning to do anything as ambitious as block off parts of London during dawn hours, but I am looking for that unsettling kind of film. I think it might have something to do with the collision of the familiar (London) and the unfamiliar (London being completely deserted).
The scene I posted was shot on DV tape, which accounts for the slightly washed-out/bleached look. It works quite well here.
I will investigate into other films/scenes that have the effect of unnerving the viewer as opposed to going full throttle into explicit horror.
One problem I can see with this approach is the question of how I will create such an atmosphere in less than five minutes. I will try to investigate into this.
I have thought of using an atmospheric horror style. Not the explicit gore and screaming, because - as far as I can see from the previous students' films - this has been used a lot.
I want to explore the more subdued kind of horror that uses the viewer's mind.
One scene, which, unfortunately, I haven't been able to get a clip of, is the scene in '28 Days Later', where the main character (Jim) has exited the hospital he was in to find himself in a London that is completely deserted.
For the most part, 28 Days Later is the kind of film I don't want to do, as it has a lot of very physical screaming-monster-and-bloody-violence horror.
However, the scene I mentioned earlier, with a seemingly empty London, is brilliant, and has that kind of chilling atmosphere I am looking for. The sickly, pale yellow colour cast on the light, which is used quite a bit at the beginning of the film, is very effective, and the soundtrack used is spot on. It's a remixed version of 'East Hastings' by Godspeed You! Black Emperor. I think the section of 'East Hastings' used is 'The Sad Mafioso'. It really does send shivers down your spine if viewed properly.
I am not planning to do anything as ambitious as block off parts of London during dawn hours, but I am looking for that unsettling kind of film. I think it might have something to do with the collision of the familiar (London) and the unfamiliar (London being completely deserted).
The scene I posted was shot on DV tape, which accounts for the slightly washed-out/bleached look. It works quite well here.
I will investigate into other films/scenes that have the effect of unnerving the viewer as opposed to going full throttle into explicit horror.
One problem I can see with this approach is the question of how I will create such an atmosphere in less than five minutes. I will try to investigate into this.
Thursday, 26 June 2008
Gantt Project editing
Today I edited my Gantt chart. I put the first draft of the script in parallel with the storyboarding. I also extended the filming and editing times, and set the % complete bar on my scheduling to 85%, and the thought shower to 13%. The project is now set to end in mid-December.
Using Gantt Project helps me to put everything in perspective. I had to do a presentation with my Gantt chart, and I had to justify my ideas. The feedback I received helped me see what changes I needed to make.
If I find a video clip, I might add it later.
Using Gantt Project helps me to put everything in perspective. I had to do a presentation with my Gantt chart, and I had to justify my ideas. The feedback I received helped me see what changes I needed to make.
If I find a video clip, I might add it later.
Sunday, 22 June 2008
Blog number two - Gantt projects and phantom beasts.
I have finished my rough schedule in the form of a Gantt chart, and I have uploaded it to the course website.
I watched the sequel to the American remake of 'Ring'. Just like the first film, I think the Japanese version is better. They use less special effects in the Japanese Ring films, which I like. The American ones spend a bit too much time on quick shock value rather than letting little things get the viewer uncomfortable. Basically, the American ones are 'scarier', but the Japanese ones have a bit more to them in terms of plot. Even the prequel was pretty good.
This is something I found on Youtube the other day. I quite like it because it's a bit of a character study as well as a 'chiller'. That, and they did their research on the Black Shuck, the folkloric phantom dog.
Random fact: the picture I am currently using of the dog with a red outline is a stylised version of the Black Shuck.
I watched the sequel to the American remake of 'Ring'. Just like the first film, I think the Japanese version is better. They use less special effects in the Japanese Ring films, which I like. The American ones spend a bit too much time on quick shock value rather than letting little things get the viewer uncomfortable. Basically, the American ones are 'scarier', but the Japanese ones have a bit more to them in terms of plot. Even the prequel was pretty good.
This is something I found on Youtube the other day. I quite like it because it's a bit of a character study as well as a 'chiller'. That, and they did their research on the Black Shuck, the folkloric phantom dog.
Random fact: the picture I am currently using of the dog with a red outline is a stylised version of the Black Shuck.
Friday, 13 June 2008
This isn't really my first blog, but hey.
I have a blog already, but this is my first proper work-orientated one. My usual one's just going on about whatever is happening.
This one is for my Moving Image Arts. So posts will be about work, and maybe a couple of films. I will try to post when something happens. This is my production diary for storyboards, scripts, ideas, problems, progress and the such.
I will also put clips of videos and films that I find interesting.
This one has a nice concept: the idea of chance and where it takes you.
The bottom of the page keeps on flashing red text at me. It's a bit ominous.
This one is for my Moving Image Arts. So posts will be about work, and maybe a couple of films. I will try to post when something happens. This is my production diary for storyboards, scripts, ideas, problems, progress and the such.
I will also put clips of videos and films that I find interesting.
This one has a nice concept: the idea of chance and where it takes you.
The bottom of the page keeps on flashing red text at me. It's a bit ominous.
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