"The Man With a Movie Camera" x "The Bicycle Thief"

It seems that the film, The Man With a Movie Camera, doesn't exactly follow a narrative (the only relating aspect of the film is that each shot depicts the lifestyle of a photographer), Pudovkin's concept of constructive editing is not being used in this film. Constructive editing is the idea that each shots should be related to each other through having purpose within the narrative. Therefore, if there is no story, there is nothing to relate to. In contrast, the decidedly less experimentalThe Bicycle Thief does indeed follow a story. Constructive editing occurs in the above clip from 0:21 to 2:37; each shot can be related and arranged in a sequence so as reveal an important part of the story through consecutive cuts - he ultimately makes decision to send Bruno home on the streetcar and to steal the seemingly-abandoned bicycle, and we can figure this out through the use of constructive editing.

An example of the Kuleshov effect in The Man With a Movie Camera is from 3:13 to 3:29. The two paintings, one of an old man and the other of a man and a woman, are cut to between shots of a woman in bed. These in a sense exemplify how Vertov wished for the audience to react to the woman; the first expresses curiosity, while the second displays concern and even hate. In The Bicycle Thief, the film uses the Kuleshov effect at 4:58: The owner of the bicycle that Antonio attempted to steal, glances to his side and notices Antonio's son Bruno. The reaction that follows suggests that the owner feels pity towards Antonio and lets him loose.

Eisensteinian montage occurs in both of these films. The Man With a Movie Camera's theater sequence, from 0:40 to 2:57, uses incomplete shots more significant to the sequence as a whole than to themselves. They include shots of everything from musicians to people on the streets doing every-day tasks(even walking). The usage of the montage in this film creates a sense of setting in the film. It makes the audience feels as if they are following around the "Man" as he films his movie. Eisensteinian montage is used very frequently in The Bicycle Thief  as well when Antonio ponders stealing the bike. There are cuts between the bike and Antonio as he ponders his decision. In this way, it expresses his confusion through the editing style.

The Man With a Movie Camera does not use realist editing techniques; it contains frequent cuts, meaning that there is lots of cutting and editing, veering it away from the realist conventions. Therefore, the film does not utilize realist editing. One use of realist editing in The Bicycle Thief  is when Antonio has stolen the bicycle and is being pursued (2:39 to 4:41). There is very little editing done, and it is clear that the only cuts come with insertion of shorter takes inside of long takes.

Django Unchained: Trailer

Tarantino's new film is about a freed slave who becomes a bounty hunter to retrieve his wife.

Characters Django and King

Narrative: The Trailer reveals what seems to be the general plot line for the film. From the trailer, audiences learn that Django, a slave, has lost his wife to a wealthy slave owner. A bounty hunter who knows who Django is frees him to help him hunt down two brothers because the bounty hunter does not know how they look, but Django does. Because of Django's knowledge, the bounty hunter asks for his assistance - He will help Django retrieve his wife if Django provides his services in return.

antebellum society shown by KKK members

Mis en Scene: The trailer reveals a very antebellum setting. For the most part, the trailer is very dark which creates an ominous and mysterious mood. There is a lot of detail put into the production of the film down to even the font on the papers posted on walls containing bounty information. We see slaves dressed scantly and wealthy white plantation owners living luxuriously as seen through DiCaprio's character drinking wine and shooting billiards. In one scene in the trailer that is set in an old outskirt town, we see Django talking with the bounty hunter while activity is happening outside through the dusty, cracked window. The mis en scene in the trailer helps emphasize the setting by making it more realistic as well as reveal minor things within the narrative.

various scenic shots in trailer

Cinematography: The cinematography in the trailer remains pretty simple consisting of close ups for key players in the plot. When conversations are being heard in the trailer, there is the usage of shot/reverse shots as well as master shots (but these are kept at a minimal). There are multiple shots of scenery that are very appealing to the eye such as the snowy mountain shot and the dark showdown shot at the end of the trailer. Also, there are three instances in the trailer where whip zooms are included so show the intensity of the situation and the focus in each person's eyes.

Whip pan into Leo's face

Edit: The edit stay pretty textbook style. Much like the trailers of its genre, the Django trailer begins very mellow to introduce the characters. There are a lot of dip to blacks to introduce new settings and new characters. Once the conflict is introduced in the trailer, the pace quickens dramatically to emulate the action packed movie through just a trailer. The shot duration drops dramatically and there is much more close ups and even explosions in the shot to reflect its action genre.

Explosions match soundtrack

Sound Design: The sound design in the beginning is very crisp and upbeat. While the starting soundtrack is very slow and glorious (little like Gladiator's soundtrack), the sound effects contrasts with it. There are lots of clicks of guns, gunshots, as well as thumps. After the conflict is introduced, the soundtrack get more uptempo and mocking. Much like other Tarantino films, the sound doesn't exactly fit its genre. It is neither all epic, not all melancholy. Instead, it sounds much more comedic consisting of low strings like with a string bass mostly. Then in the end of the trailer, all the aspects of sound comes together. The trailer is cut to the beat of the music and sound bridges are used to weave together shots and ideas. Also the thumps and gunshots that were used earlier in the film now add to the rhythm of the soundtrack, united all aspects of the sound design.

Dream League: Pre-Pro

Purpose: To inform the public (Bay area) about the organization Dream League. It is a non-profit organization that brings together students to unite a community and promote healthy learning. They do this by organizing professional basketball games for students to play in.

Contacts: Dream League founders, some players (can decide while at a game), some organizers

Interview Questions: What is your name? For Founder/organizers: What motivated you to create this organization? What is the goal of the organization? How do you think this organization has helped the lives of the students? of the community? What is your favorite part of the organization? What do you like to see? For players: How does this organization help you (academically, communally)? How often do you participate in Dream League? What do you plan to get by participating? What do you think that the goal of this organization is? Do you think it works?

Shot List- Quick shots for games, Close up/medium shots/extremem close ups for interviews, maybe some profile shots for interviews. Shots of what goes on "behind the scenes" - maybe on the phone, on clipboards, players playing the game/warming up. close ups of basketball going into basket

General Flow: There will be two sections of the documentary. The first section will be quick to emulate the pace of basketball games. It will be aimed at being the most intense to grab audience's attention. This will be achieved through quick cuts, jump cuts. The second section will be the effects of the organization. How it affects students. What it aims to achieve. This will be much slower to maybe trigger an emotional response from the audience to make it 'hit hard'.

Production Schedule:  December 5 - pre-pro done (contacts, scheduling, shot decisions) December 10 - shooting finished December 13 - editing done December 14 - documentary done and ready to screen.

Inside the McDonald's Empire

The purpose of this film to take a look inside the McDonald's empire. It gives background on the biggest, most successful, most powerful fast food chain ever. It begins by visiting the most busiest McDonald's in the country to see how the store is run. The documentary reveals how the store is run, the background of the store, and the realities of running and working at a McDonald's not only in stores, but behind the scenes. This means that the documentary also shows the backbone of the franchise and how new recipes are made and tested to ensure livability.

Unlike other McDonald's documentaries, Inside the McDonald's Empire does not look down on the franchise, but rather it explores all aspects of the company. It depicts everything from the hard work needed to run a store to the tedious task of creating delicious new recipes that will last. It also explores the problems that the company has faces in the past few years and how it has affected the company.

The principle audience of the documentary is anyone interested in learning more about the company. It explores the company from an economic standpoint as well as a social standpoint (view that is explored by the man on the right), broadening the possible audience.

This documentary aims to raise awareness about the McDonald's company. It goes back to the origins of McDonald's and how the company first became successful. The revolutionary fast food chain that was to become the largest chain in the world went through stages to become what it is today. This is what the film focuses on. Although most of the focus is on how recent changes have been used to manufacture food in bulk, it also provides information about the foundations of the company. What is interesting about this particular documentary is that it not only explores what happens on the front lines (in stores), but also the technicalities (corporate, management) of keeping the company running.

The documentary is basically a super-news story. Because it is this way, the footage is not artistic at all. This is because it does not need to. This documentary aims to inform, not to convey an artistic stand. The film effectively communicates its informational points through not only useful voiceover and interviews, but also through matching B-roll. This allows the audience not to only hear what happens within the company, but to also see how it is run. By doing so, the audience gathers much more information about the management and running of the company. It is interesting because most people are consumers of the product, so they are not able to see what happens within the company, so the footage that is used in this documentary effectively allows the audience to experience the realities of McDonald's.

There is generally no effect of the film other than leaving with more knowledge about the company. It also raises awareness.

The documentary's interviews are useful and provides a better perspective about the company. Because the narrator is only limited to what he can research and know about the company, must of the information that is communicated comes from the experts. There is an abundance of interviews in this documentary(as shown in picture on right) which reflects the size of the company. By provided interviews from each section of the McDonald's company, less vital information about the company is left out and the audience can feel that every aspects of the company was covered.

This documentary is very effective is communicated its points. The narration and abundance of interviews, along with many other filmic aspects are what makes this film successful in achieving its goal which is to inform the public about the McDonald's Empire.

Play For Keeps: Treatment

Log line: A young man wants to reclaim his dominance in Galaga.

Grant and a group of friends own the arcade. They are kings. All the little children worship their pro-ness. Whenever Grant or whoever enters the vicinity, all the other children part like the red sea, bowing down to the kings.

One day, they enter the arcade like usual. "Wassup Joe", Grant says to the store owner. "What's poppin' king, someone done beat your high score, bruh". "Oh hell naw." Grant rushes to his dominant machine. No one is acknowledging his presence. The kids have lost interest in the king. Some 'ACE' has beat his high score.

Grant decides to try and find this 'ACE'. He plays the detective one day. Other days, he empties out his pockets on the machine trying to beat the highscore. He cannot. Broke, Grant has only one option. Find the 'ACE' and compete with them.

One day he enters the arcade, sleep deprived, deranged. He sees a girl, who has a keychain - 'ACE' down the lanyard. It leads to one conclusion - ACE IS A GIRL!

He stands, puzzled. Is it right to confront a girl? Can he beat her? What if he loses? Beads of sweat wash down his face. Worst of all, this girl was HOT! Like smoking hot. Sizzle sssszzzzz.

(There's only one thing he can do. HE BUSTS OUT A KAMEHAMEHA and blasts her away.)

(He challenges her. An intense game is spawned. While Grant is sweating profusely, the girl is calm and in control. Losing the game, he drops to his knees and screams is disappointment.)

Instead of the thoughts that he has imagined. He decides that it is useless to try and compete. How often will you ever find a hot gamer gal? This is the only chance he will ever get. He approaches her and asks if the high score is hers. Turns out it is not. He questions about the keychain. She pulls it out, revealing TR(ACE). Ha, her name is Tracey. They hit it off and walk out the shop.

As they leave, a fat boy walks in glasses and everything. He walks into the room and film ends with kids in arcade beginning to bow down...


ALT.
(Come back to his standing stunned. He challenges her. Epic game goes on. As the game is about to conclude, power shuts off. GAME OVER. Grant slams the machine and slaps the screen. The two look at each other. What do they do now? They shrug, make up and walk out together.)

Advanced Editing Concepts

I Erased You
The Departed — MOVIECLIPS.com

This scene in The Departed illustrates the use of classicist editing. Like most of the modern day films, this film is very quick paced as dictated by the short shot length. The longest shot is only about one and a half seconds long. Along with this, the film varies in shots in order to expand the amount of coverage in the scene; it also utilizes a multitude of angles. Aspects are even used from D.W. Griffith's arsenal of film techniques including close ups to highlight intimacy and psychological reasons. In this particular scene, close ups are used to emphasize the fact that both characters are in a rough predicament. One is held at gunpoint, where as the other is an undercover cop who is not even recognized. In this case, close ups intensify this part of the film.

Officer Down
The Departed at MOVIECLIPS.com

At the end of this scene from The Departed, realist filming techniques are used. When the police commander discovers that his men are shooting at the group of gangsters, he stays static for the rest of the scene. He does not say anything, he does not move anywhere, he doesn't even put down the phone. In this example, realist editing is used for dramatic intent. The Matt Damon character is to be analyzed by the audience. He stays static in a wide shot in order for the audience to take in the different aspects of the shot. We see him at a desk where he calls orders. He is in an office - probably in the police station. He has a shelf behind him with government documents and folders. All these pieces of the production design are available for the audience to pick up. Through the use of realism in this film, it not only build up emotion, but also provides context.


Lastly, Formalism is also used in this film in the beginning to establish a setting. Because the city that this film is so large (which also makes the plot so large), a lot of coverage must be used to fully depict the city. The editing cuts from one part of the city to another, from riots to peaceful parts. Formalism is mostly used in this film to build context. By revealing all these different aspects that relate to each other, the audience gets an idea of the setting of the film. Furthermore, not depicted here, the film also uses formalist cutting to reveal backstory about characters. The Leonardo DiCaprio character is shown a lot of times in this way. Because he is an undercover cop, people do not oftentimes know a lot about him. The use of formalism therefore provides information that isn't provided otherwise.

Step Outline

Character

Two possible protagonist whose stories are told in a parallel structure. One may assume the 'misfit' role, but it will not be shown in an obvious way like in dress (e.g. the nerd archetype). Maybe throughout the story, it will be subtly and slowly revealed how he is an outsider. The character himself is of course oblivious to the fact.

Backstory
The character may have had things happen to him that makes him not recognize that he is a misfit. He is oblivious to the fact that he does not act like everyone else. Maybe it was something in his younger years. Maybe the two protagonists will unite at a point in which they realize they are not the brightest bulb in the box.

Goal
The goal is unique to both characters. The should be related so that the stories of each character seem to be related by some magical connection. The universal goal can be used to create meaning or do a social commentary.

Relationship
Relationship is told to further create character. In this instance, the misfit interacts with his surroundings. That is his relationship. Because he does not fit, maybe he has a group of friends that are just as oblivious as himself. As the two parallel stories are being told, it can be alluded to that the two characters will soon cross paths.

Setting
The setting really depends on what the problem of the protagonists are. Maybe the setting will be one single location in which both characters are at the same time or a broader range of settings will be used.

Obstacle
The obstacle is...

Mood 
Mood should be comedic throughout but possibly a dramatic ending that connects all story lines and makes sense of things. Together the separate pieces can be comedic through awkwardness, jokes, but this needs to be executed well.

Time
Time will be manipulated in that pacing will be determined by editing. Maybe the story spans over multiple days or maybe in a few hours. Dramatic intent can be emphasized through rhythmic cuts or even shot duration. The 'content curve' should be acknowledged.

Unknown

The unknown that we will give the audience is why the two stories are being told at the same time. This will have the effect of wonder. The audience should wonder what the relationship between the two are and what the significance is of the two stories being told simultaneously.

Discovery
Discovery will be highlighted in both finding out backstory about the characters as well as realizing the relationship between the character. This is where the narrative must shine. In order to end the film with the impact I want, the character relationship must be alluded to and then revealed. Another alternative is that we reveal so much about the characters that the audience is sure what the relationship is, only to discover in the end they were wrong and misinterpreted little details.


Scratch the whole 'im a misfit, lemme figure out what's wrong with me idea'
Misfit must have a goal more than that - too generic, character can still be 'misfit' but his story must function out of the stereotype.

OUTLINE
1
A. character is introduced - maybe the audience will first see character as cool kid
B. second character is introduced - subtle details to show relationship between the two

2
Relationship is subtly revealed through slight details that the audience weaves together.
One of the two characters is supposed to be going on a date with the second character, but they keep on 'just missing' each other. Some sort of action keeps them from meeting up.

3
characters are revealed to have some sort of relationship with each other.

Character

The character that appealed to my interest is Christopher Johnson from District 9, directed by Neill Blomkamp. Going into this movie, the audience is already characterizing him from his appearance and the negative associations given to his species shown through the trailers. His species, labelled prawns for their mollusk appearance, are alien, shunned, and concentrated in isolated camps. The alien species are trapped on Earth because their spacecraft has been idled and unable to run. Christopher Johnson is one of the more intellectual prawn. He becomes a character of interest once the protagonist, Wikus Van De Merwe, discovers that Christopher Johnson is necessary for achieving of his own goal. But that's not the focus here; Christopher Johnson is the focus.

His goals are pretty straight forward - he wishes to go home and save his people from the cruel treatment of Earth. As the film progresses, the audience discovers another goal that Christopher Johnson needs to achieve: that he much re-power the spacecraft with a rare fuel that has been confiscated by the protagonist Wikus. Eventually, Wikus is contaminated by the fluid and begins transforming into a prawn. Christopher and Wikus come to an agreement that if Wikus helps retrieve the fuel for the ship, Christopher will return Wikus into his human form. Nonetheless, his main goal of returning home and saving his people trumps all others. This distinction is revealed through various aspects.

His character is represented as an intelectual of his species. We are revealed this through his oddities and attire. Unlike the rest of his species, Christopher wears a salvaged red vest as well as pieces of cloth covering his leg, like shorts. This not only identifies Christopher, but also shows that he is not like the rest of his species - crude and naked. In order to carry out his goal, Christopher feels the need to observe and conform to human patterns. He is also respectful and obedient to the human species. All of his actions are acts that he needs to carry out in order to achieve his goal.

In the final scene of the film, Christopher is trying to get to the ship to return home, but is under heavy fire from military personel. He and Wikus break through, but this physical barrier is not the main obstacle in the scene. Rather, it is the emotion decisions that he must make. The importance of his goal is shown through his hurry to return home. Consequently, he must leave Wikus on earth, promising to return after saving his alien race. This emotional decision is the greatest obstacle because it forces Christopher to make sacrifices in order to achieve his goal: either he abandon the lives of his people for cure Wikus, or he leave Wikus so he can gather resources to save his people. Christopher overcomes this obstacle through making sacrifices in order to save the lives of his race.

10 Themes: 'when you find me'

CHARACTER
In this short film, the narrative focuses on two sisters, Lisle and Aurora. As the short film progresses, we as an audience get a sense of how the characters interact with each other. In this image, Lisle is first introduce in her younger age. She is shown in bright red and blue colors, with a playful undertone. She seems to be the more innocent of the two sisters. Their relationship is a key factor in driving the plot of the film. This aspect will be explored further in later sections. The character aspect of the film is essential for the audience to connect with the protagonists because if properly executed, we as an audience feel a sense of connection to the story.

SETTING
The setting often changes in this short to accomodate the two protagonists. The setting in this still is particularly interesting because it represents the mystical world, the magical and also crosses over to the theme of the unknown. But nonetheless, this setting plays the most significant role in the film because it resolves the conflicts of the characters. With Lisle, she finds her mother as a child. With Aurora, she comes to terms with the argument with her mother and finds forgiveness and bliss. The other important setting is the farm from scene in the beginning. This setting represents the isolation that these characters have with the rest of the world, and in the abstract represent the characters emotional isolation with each other. Lisle cannot communicate her desire for finding her mother, and Aurora cannot communicate her sadness with her mothers death because of Lisle's lack of understanding. Other settings include the hospital, the graveyard, and the diner.

RELATIONSHIP
The relationship portrayed in this short is between sisters Lisle and Aurora. In the beginning, it is revealed that the two have a healthy relationship because they are playing some variation of cops and robbers - they are interacting with each other. It is also communicated that Aurora may be the agressor and Lisle the victim. We see this through not only the older sister, younger sister relationship but also because of the characters they are acting as: a sheriff and a robber. Further in the short, this playful representation comes to reality when the sisters react to the death of their mother differently. Aurora is the angry and takes out her anger on Lisle's innocence. The relationship seems to be breaking apart. What is interesting is how their relationship in the years between the young plotline and the old plotline is not shown. This causes the audience to assume that it is not together. By the end of the film, their relationship is mended, ending in a overcoming of their past.

GOAL
There are many goals in this film as a result of the many parts of the story. Also because there are two main characters, each has their own goals to achieve. One of the main goals is from the character of Lisle; she does not understand death and therefore desires to be reunited with her mother. This is her primary goal. The goal drives Lisle's character because it reveals her innocence as well as her backstory. Her character is further emphasized when she does achieve her goal - reaching her mother. She reunites with her mother in the white, mystical world. Having the setting stay in a magical world ultimately reveals more about Lisle character. The goal in this film is successful because it not only shows character motivation, it also reveals more about the characters

OBSTACLE
The overarching obstacle in this film is the relationship between the sisters. The tensions between them are shown in multiple points of the film starting from the death of the mother. The death is the catalyst for the character's obstacles. The sisters seems to be separating from each other as shown by the different interests of the sisters. The first being the space between the sisters when they are sitting apart on their front yard. The next is the night/graveyard sequence. When the reach the gate, Lisle and Aurora cannot pass the gate because it is locked. This gate is a physical representation of the the barrier between the sisters. When Lisle climbs over the gate, they are separated. The interesting part is how the obstacle represents the sisters' relationship because even when they are grown up, the tensions are still apparent; it is not until Lisle and Aurora explain everything that the obstacle is overcome.

MOOD
The mood in this film is much melancholy. The two sisters are in a stage of distress in both time period. As children, they have to face the death of the mother; as adults, they face the separation between their relationship. The mood often affects the film through dramatic light and the character's emotions. For example, in the above still frame, Aurora is dimly lit with very dramatic fall off on her face. This darkness is apparent throughout the entire film. The mood is established through the darkness that is strung throughout the film. Furthermore, the emotions shown by Lisle and Aurora further emphasizes this melancholy mood.

TIME
Time is expressed in this film through the two different time periods. This highlights the gap between the sisters because in the film, we learn that they became distant due to the different feelings towards the mother's death. The different times shown emphasizes the sisters' separation. We do not know if they have made up with each other or are still apart - this adds suspense and wonder to the main plot line. Another aspect of time used in the film is the techniques of editing. Strung throughout the film are different shot lengths which are held out to emphasize certain points or highlight things of significance. This manipulation of time affects how the audience interprets the film because the editing or lack thereof, dictates the speed and time of the film.

BACKSTORY
This short is interesting because of how the backstory is woven into the narrative. The death of the mother is, as the audience probably concludes, from some sort of terminal illness or cancer. The audience then wonders how long the sisters have lives without their mothers. Because of the lack of a mother figure in their life, this significantly strengthens how the audience perceives the sisters - they stay close to fill the void of their mother. However, immediately after the hospital scene, the sisters are bitter to each other. Another aspect of how backstory translates into the short is the gap between their childhood and their adult life. The audience wonders what has happened in between these years and have to create a conclusion of their own.

UNKNOWN
The helps set the mood for this film. The unknown is included in various parts - from the cartoon spaceship sequence to the white magic world. The use of the unknown can reveal character, specifically for Lisle. Through the space sequence, we visualize how childish she really is. Her youth gives her innocence. The white sequence with Lisle also shows that she strives to connect once again with her mother. It is interesting how this aspect of 'unknown' is shared between the two sisters. In this sense, the unknown plays a role to unite the sisters.

DISCOVERY
Discovery in this film provides a sense of closure, a solution to the problem, a climax to the film. The sisters discover a part of the other that they have no understood before. It provides a sense of closure in that they understand the emotions that they each were feeling at the time of the death of their mother. Reuniting with the mother, even in the magical realm relieved Aurora, the older sister. The realization that her mother was not upset about the last words Aurora said made her feel less regret. Being able to encounter her mother one last time provided a rewarding resolution to the short film.

The Film World

ORIGINAL ARTICLE

In this article from Photofocus, it outlines for up and coming photographers or just those interested how 'breaking the rules' of photography isn't always a bad thing. It outlines a set of questions a photographer should ask themselves in making a stylistic choice. They should understand the 'rule' they are deciding to break and why and for what purpose. It is interesting in this article that the author, scottbourne, refers to the 'rules' loosely because when you look at it, they are not 'rules' at all, but more rather - guidelines.

10 Themes of Storytelling

1. Mood - a state of quality or feeling at a particular time. In this particular photo, it seems to be a simple picture of the symbolic golden gate bridge, but it conveys much more that just that. The lighting shows rays of hope is closer within the frame whereas the darker undertone from the clouds are more in the distance. The effect of the bright yellow dominates the blues, causing the mood of hope to shine through the golden gateway.

2. Goal - the result or achievement toward which effort is directed. In this photo, a dog is static on a path that stretches along the Z-axis. The depth of field stretches all the way down the frame into what seems to be a forest. This photo exemplifies goal in the the road represents a long journey for the dog to enpart on. For me, I think this photo would have benefitted if it used a more selective focus because it would represent the obstacle aspect of goal a little more, but who am I to critique?

3. Backstory - a narrative provided a history or background context. This photo exemplifying backstory is very interesting because of its use of shadows. The shadows already represents something, that when framed right, can tell an entire story as this photo does. It shows a silhouetted person, slouched with multiple shadows gesturing at him. The shadows are perhaps disappointed with him or maybe the shadows are a manifestation of his own thoughts, revealing that he is disappointed in himself.

The Southern Belle: Film Review

Title Shot of The Southern Belle

The Southern Belle brings us into the minds of two characters who are having relationship problems.  Directed by Patrick Biesemans (works on various web commercials) and written by Martin Cox, the short film explores the motivations between two completely different individuals, a taxi driver and the passenger he picks up at the end of his shift. It is revealed that Josh, the passenger, has a desirable life with a good job and beautiful wife and children. Problem is that he has some adultery on the side and when his wife found out, all types of problems arose. It turns out that the taxi driver is in a similar predicament with his wife. Stopping in the middle of his run, the taxi driver begins to narrate his story and revealing the instability of what seemed to be a sane taxi driver. But his story is not fully unfolded until the apex of the narrative and ultimately leads to the unexpected, jaw dropping climax.

The two characters stay within the cab throughout the film

As a film with only two characters, the techniques to create characterization is crucial to make sure the film does not fall flat. Characters usually fall into two categories. What we, as the media has molded us to expect, are used to are the well rounded, dynamic characters with motives that audiences slowly uncover over the duration of the film. On the other hand, there are the characters that only seem to have one emotion and are do not change emotionally throughout the film; these characters are known as static characters. Thankfully, the characters in The Southern Belle are not these so called static characters. Usually, the first way that the audience judges a character is by the external portrayal, or their wardrobe. The taxi driver can be implied to be a middle to low class individual (it also helps that we know he is a taxi driver). Also, Josh, the passenger can be implied that he is a well off business man because it is introduced in a suit.

Different uses of shots - used for pacesetters

Furthermore, the characters are the driving force of the film. All that really happens in the film is verbal communication between the two characters. This can be difficult to to effectively produce because dialogue can sometimes become dry, or pointless to an audience. In this case, however, the dialogue is compelling and forces the audience to pay attention, dragging in the audience into the story that is being told. In a way, the audience assumes the role of the taxi driver, listening to the problems of their passengers - only in this case, we are spectators. The pacing is perfect and there is not a single moment in the film in which I felt dragged on. The film was quickly paced one minute then slows down the next. What really defined the desired pace of the film, in my opinion, was the music consisting of the simple chords on the piano to the rapid bowing of the strings. This extra addition is what sold the film, accurately portraying the desired mood of the film and instilling emotion into the audience.

Rim lighting is used to create a mysterious mood

To fully appreciate a film, one must consider all aspects of the film. Editing is one of them. As stated earlier, the pace of the film was defined by the interactions between the characters. But various other directorial choices are also playing a role. Whether it be the choice between the use of diegetic or non-diegetic sound or even the shot selection. What the audience sees or doesn't see affects how an audience appreciates a film and Patrick Biesemans is able to deliver. Lighting and setting are also aspects to consider. The choice of using dark, silhouetted characters mystifies their background and their motives, allowing audiences to want to delve deeper and uncover more about the character. The use of rim lighting suggests that we only understand the surface of the characters and not the internal motivations. For me, this made the film that much more suspenseful, that much more thrilling and most importantly, it worked.

Use of dramatic lighting - fully reveals characters

All in all, this film is a great short and illustrates the ability of director, Patrick Biesemans to capture an audience. This is definitely a well scripted film and is a great example of how screenwriting should be executed. From start to finish, the short had me on the edge of my seat, desiring to know more about the characters only to find out that in the end, I knew too much about the characters. Great screenwriting and great narratives can be recognized when you finish watching a film and still ponder over what you've just experienced. The Southern Belle will definitely remain in my mind as a must watch short. 

(see full film below)

   

Clarity: Treatment

Logline: A boy comes to terms with his emotions by escaping through nature..

A boy sits on a log, the same log in the same clearing that he has been returning to for years. Here, he can be himself. Here he is alone, away from the pressures of society and family. Here, he can clear his mind and never go home. This small clearing is his home, this is his escape.

As he sits outside the cafe, he tries to picture what it would be like if it never happened. The thing that made him so isolated, so separated from everyone. If only someone shared the feelings that he felt. He couldn’t imagine that he could ever talk to anyone about it. He sees the flyer that has always been posted in the same position - group therapy, for those who need it. Frustrated that he sees it everyday, he closes his eyes.

He scratches another tick on the log in the clearing. He puts the knife under the same rock he has always put it under and gets up. But that isn’t enough, he feels that something is missing. He returns to the rock and pulls the knife out and marks a nearby tree, “what can I do?” he inscribes, and drops to the floor, tears rolling down.

What can he do? He has to go back, as much as he doesn’t want to. So he does. In another public spot, he sits, gazing across as far as he can see. This place so much different than the clearing, he cannot see the horizon, he cannot hear himself think, he cannot function. He cannot stand it - the stares, the murmurs - he is imprisoned.

He returns. He breathes. He glides down to the clearing when he notices that there is something written on his scratched tree. A reply? He looks around thinking somebody has been watching him. Does someone else know about his sanctuary? He decides its okay, knowing that there’s nothing to lose. He writes back.

Day after day he returns, discovering new messages, and he feels a satisfaction from this connection to the unknown. He is able to express once again, even if it is not in a regular way, it is better than how he was a few days ago.

He decides to give the group therapy a try even if he doesn’t speak and only “passes” on speaking, he has allowed himself to attach himself to other things, and work his way back into a regular life. Whom had once been lonely and emotionally isolated now has a new charisma. His energy flows through his limbs and it radiates through his appearance. He continues to write on the trees.

He finally expresses himself to others comfortably. He doesn’t “pass”. He decides its okay, and expresses himself in voice. He doesn’t looks away in disgust when people look at him. He sees light in the world. He seems to be well off and stable once again.

Back in the clearing, he reaches for the knife, ready to write a new message. He had not been here in days. His life is finally coming together and he is not the lonely boy he once was; he is now an individual, one that can clearly articulate his emotions. He brushes the carved trees with his hands. He feels through the carvings that he had once wrote, the carvings that he has distanced himself from. He feels the precise lettering, and feels the emptiness underneath his own writings - the replies to his messages are gone.

Titanic: Film Language and Representation

V. Film Language and Representation
The characters that are in this extract mainly include the passenger of the ship with sub-characters such as the captain and the ship's designer. The production value and the amount of people in the shots depict the chaos in the ship. There are different emotions portrayed. The range from prideful acceptance, to chaotic and hopeless. These emotions allow the audience to see not everyone responded to the event the same way and provides a more nuanced portrayal. There are also interesting use of angles in the excerpt. To accommodate the sinking angle of the ship, some shots are also angled. These are usually the sequences that are still in the interior of the ship. These shots are further emphasized by the use of lines within the shot. The horizontal lines contrast with the camera's edges, therefore adding to the sense of the sinking Titanic. The is little camera moves. There are only slight pans and trucking, along with the dolly shots of the entire ship. The editing jumps from place to place. It doesn't only focus on the emotions of one person. Instead, it goes to many aspects of the ship's emotion, from the rich to the poor, from the old to the young. This reveals the many emotions that Cameron had wanted to portray - that the Titanic was a dramatic, tragic event, contrary to the prior films made on it which showed the sinking as graceful.
The sound in this excerpt heavily influences how the audience should feel, and perhaps Cameron's intended effects. It begins with the calm music that the band plays, with screaming in the background, but the music is louder than the chaos. The montage of the ship, along with the music, shows one aspect of the event, where are the yelling in the background encompasses another. Overall, this scene is intended to be artful and expressive to incorporate all the beauty in the ship and the etherial qualities. Nearer to the end of the excerpt, the music changes to a dramatic, upbeat instrumental. The audience now feels a heightened sense of danger because of the use of sound and music. It is interesting because the commotion in the shots are still relatively similar, but because of the sound, the mood is completely different.
The symbols in this excerpt are limited because there is not a fixed shot on an object. One symbol that I found interesting was the floating painting that was owned by Rose. I felt that the painting represents the wealthy class and from this it can be interpreted two ways. One is that, with the painting floating, it shows how the wealthy were more fortunate than others in society. Another interpretation is that no one is superior, even with wealth because the painting is submerged in the water. Although only being in the scene for a few seconds, the shot had to have some importance and meaning to be placed in the film.

Titanic: Narrative

IV. Narrative
I chose to use the excerpt in which the ship's band plays "Nearer My God to Thee" while the ship is sinking. I chose to analyze this scene because I feel that it incorporates themes of the film as well as the associations that fall with the Titanic. I felt that the blending of a tragic event such as the sinking of the Titanic combined with the tranquility and calmness of the music provides a great contrast and provides an excellent portrayal of the event. I felt that the use of contrasting shots in the extract allows the audience to feel the full depiction of the event as well as embodying the emotions along with it. The extract is one of the most climactic moment in the film because it shows the emotions of the passengers from safety to giving up, from determination to acceptance.
The narrative is told from an elderly Rose DeWitt Bukater to a group of sea explorers. It takes place in the present day and she reflects back to the voyage of the RMS Titanic. The narrative is more character driven than plot driven although both are incorporated into the film. During the course of the film, we experience the trip of the Titanic from a few established character; therefore, we are given only the perspectives of these characters. The film is constructed around the love between the two main characters of Jack and Rose. Their love is paralleled with the film's inevitable course in which the Titanic sinks. This helps propel their love because us as an audience know that they would ultimately fall apart, physically ending their epic romance but Rose, continues to love throughout her life in the image of Jack. We see this at the end of the film from the old Rose's photos.

Titanic: Historical :: Socio-Cultural

II. Historical and Institutional Factors

Titanic, directed by James Cameron, under 20th Century Fox, Paramount Pictures, and Lightstorm Entertainment was at first in question about the economic endeavor because Cameron had asked for $150 million for the production of the film from Fox. This soon, during production,  rose to $200 million due to the engineering of a replicate RMS Titanic and production technology for the visual effects. This made it the most expensive movie produced in its time. There was question about whether or not the film would gain profit, and at a time, it was sure to have a loss of $50 million. Titanic ended up being the most grossing film at that time and to this day, sits at #2 at the highest grossing behind Cameron's recent Avatar. This was due to multiple screenings of the film by individuals and spreading it through good word of mouth. It also was released during the 90's scene in which home theatre was becoming more common.

The film is a documentation of the tragic event of the sinking of the passenger liner, RMS Titanic across the Atlantic. It showed the emotions of the event and Cameron tried to accurately depict it, even referring to historians to validate its accuracy. It starts with a majestic tone with the sight of the grand Titanic on the fate of April 10, 1912 to the hopeless tone of its sinking on the morning of the 15th.

III. Socio-Cultural Context

Titanic informs the audience of the emotional struggles that surrounds the liner. It communicates the time period through the setting and characters being English traveling to America. It also provides a visual depiction of class struggle. Undermining the conflict of the crisis, is the need of wealth and reputation. The film, Titanic provides a significant comparison between societies from the early 1900's in Europe compared to the society that we are used to today. Although not being the main focus, Titanic depicts the struggle for reputation within the wealthy, upper classes. This can be represented by the ship's different classes: the wealthy, middle, and lower classes. This contrast in society is shown through the love story of Jack Dawson and Rose DeWitt Bukater. Despite their economic differences, the two find a way to overcome their status, possibly signifying a step forward. The film, Titanic, was made to document the tragic incident of the sinking of the passenger liner. Past documentaries, Cameron felt, were not accurate in depicting the tragic incident as a graceful downfall; instead, it was catastrophic, so he decided to portray the event as closely as possible, running it through with multiple historians. 

Titanic: Genre and Audience

I. Genre and Audience

The 1997 film Titanic, directed by James Cameron, is a dramatic romance paralleled with the tragic event of the grand passenger liner RMS Titanic: a modern Romeo and Juliet. The film follows two lovers who come from different social classes. Rose Dewitt Bukater is a young woman in a family struggling to maintain their high status. She is engaged to the rich, Cal Hockley, who could potentially lift the family from their wealth problems. The love interest, Jack Dawson, won a pair of ticket for the Titanic for himself and his friend in a gamble, and boarded the ship. The two engage into an epic romance, only separating during the ship's collision with an iceberg, sinking the ship. James Cameron, during pre-production, decided that the film that he'd taken on was one that needed to be accurate; it needed to depict the tragedy to allow the audience to fully experience this tragic event. He portrayed Jack and Rose's love aboard the Titanic. 

Cameron's intention of making the movie constantly changed, and originally it may not have turned out to be the depiction of the Titanic. He found interest in the project because he had always wanted to go deep-sea diving, and this film would provide him this experience. Cameron, during production, was expecting financial losses because the film had taken over $200 million to make. The film was inevitably going to make substantial losses. It ended up being the first film to break the $1 billion mark and to this day stands at the second most grossing film ever behind Cameron's Avatar. The audience was mixed between both male and females, viewing the film multiple times.

Ideology in Film

Ideology: Implicit vs. Explicit.
Ideology are beliefs and interpretations that one may exert. Ideology refers to a socio-political belief and this has found its way into film. Directors and film-makers have incorporated these ideologies into their film to bring in their own beliefs or the belief of the time period. These can range from, but not limited to,  political equality, racial problems, and social pressures. The film's ideologies can be communicated in a variation of two ways -- implicit and explicit. Explicit ideology refers to the director directly communicating the ideology to the audience, and is the film's declared ideology. Implicit Ideologies are the under-the-surface meaning. These are debatable and are up to the audience to determine.

Ideology and Expectations.
Will Smith

Will Smith often plays in movies with some form of comedy, although he has a large filmography ranging from action to drama. Despite this, his films are commonly comedies, because this is where his career launched. Beginning with the 90's television show, "The Fresh Prince of Bel-Air", he was deeply seeded into his comedic roots. Often, he exaggerates his body language after he cracks a joke, hinting at his humor. Will Smith embodies a character of lightheartedness, but when needed, he assumes a serious role. In his recent movies, he's played a struggling protagonist that has to overcome his emotional struggles. Movies he's starred in recently are "I am Legend", "Seven Pounds", and "The Pursuit of Happyness". In these films, he in emotionally struggling and strives through them, finding solutions and ways to adapt to the harsh realities of life. Smith often plays a character that needs much emotion to portray, and his performances are phenomenal, making him the ideal actor for emotional dramas. His versatility between genres allows him to play in roles from comedies to dramas.

Personal Ideologies and Enjoyment
Jack Sparrow, played by Johnny Depp, in the "Pirates of the Caribbean" movies is a character that I admire. He plays a pirate that struggles to gain the respect that he desires. His judgement may seem distorted at times because of his foul habits, but ultimately, his character finds a way to overcome obstacles, defeat his enemies, and reach his goals. His character appeals to me because of his bizarre behaviors, his uniqueness, and his weirdness. What is the most interesting, in my opinion, is his unorthodox personality. He, despite being a pirate, doesn't hurt the innocent and avoids violence until his own life is at risk. His slyness also is a trait that is admirable. His fast talking and quick judgement allows his to avoid dangerous encounters and acquire what he wants. Being a movie geared to children, it promotes selflessness and teaches good character by using Jack Sparrow as a contrast to the typical pirate image.

Changing Ideologies
Ideologies can effect a culture because of their beliefs at a given time period. What we perceive at a norm may not necessarily be acceptable in the past. This can even be applied to foreign films. We may not understand the ideologies presented because of our lack of exposure to other cultures. Ideologies and societal beliefs change over time; we are inclined to accept certain things. Film makers may consider the fact that the audiences may want to see certain aspects of society shown, and therefore change how something is perceived through what is shown on the screen. An example we often see is in comedy films. Ideas change constantly and film makers have to consider what the audience will see as humorous. This can range from alluding jokes to the entire atmosphere of the movie. Some comedies today have are more intelligible and therefore touch upon more complicated ideas such as the movie "Up in the Air" where are films such as "Pineapple Express" are much more simple.

Ideology and its Effects
I definitely think that films can manipulate an individual to act a certain way. For myself personally, I find myself action differently after watching certain movies. These films are often action, fighting movies. When walking away from the movie, I feel that my actions are affected because of my views towards the individuals of the movie. If the character was brave and rebellious, I tend to want to embody what the character was. Characterization plays a huge role in how audiences react to a character and through their action, we see how they possess the traits that influence the audience's actions after the film.

Ideology and Realism
Suspension of disbelief is a way of reasoning with film. It allows the authors to incorporate implausible fantasies into their work and the audience ignores the sense of realism that the film is supposed to have. The audience would suspend their judgement of the irrelevancy of the film in order to take in the fantasy world. An example of this suspension of disbelief is in "Paranormal Activity". Where as the audience knows that ghosts and demons are not real, we disregard this in order to be emerged into the film. Another example are superhero movies such as "Spiderman" and "The Fantastic 4". Although onlookers know that these superhuman abilities are but a fantasy, we suspend our familiarity with a realistic world in order to enjoy the qualities that make this superhuman unique.

Ideology and Ownership 
The financial issues of a production company influences what is represented in a film. If the film does not meet the standards or does not appeal to what the producers want, then they can suspend or even take away funds from a project, affecting the final product. An example of the financial difficulties that influence a film is the recent film "Red Tails". Director George Lucas had worked on this project for many years, but because of the discontent with the cast (in fear that this film would not be a success) they decided that the society was not ready for a type of film like "Red Tails".

Genre Study

Action Films
Examples:
1. James Bond (began 1962)
2. Terminator (1984)
3. Enter the Dragon (1973)







Narrative Conventions:
Oftentimes, the action genre has scenes that cause the audience to experience of feeling of escape through the actions scenes. Shots are used to create impact and escalated force, done through quick cuts and short average shot length. These are done through managing the pacing of the film through rhythmic cuts and edits. The scenes can include chase scenes, fighting scenes, escape scenes, rescue scenes, adventurous journey scenes and much more. Action and adventure films are similar in that both genres can branch similar sub-genres such as science fiction films or thrillers.
The main character is oftentimes male and serve as the "action hero" so to say, where as the women usually play a supporting role as accomplices or the love interest of the protagonist. The protagonist, in actions films, commonly face odds that seem impossible to overcome and, in the end, the hero emerges victorious above.


Comedy Films (Dumb Comedies)
Examples:
1. Borat (2006)
2. Napoleon Dynamite (2004)
3. Superbad (2007)

Narrative Conventions:
Comedies are designed to create amusement for the audience; the purpose of the genre of comedy is to amuse and entertain the audience and provides an "escape" to everyday life. This is done through various traits of the genre including jokes, mockery, exaggerations, and other techniques. Comedies can generally fall into the many sub-categories of the genre, including dark comedies, horror comedies and action comedies. Comedies are seen in in its primitive stage before the 1900's, in which sound was not needed and relied on the slapstick aspect. Slapstick is the most primitive type of comedy; it relies on over exaggeration, where they began to bloom in the 1940s and 50s, assisted by comedians such as the Marx Brothers, Stan Laurel and Oliver Hardy. With the introduction of dialogue in movies, comedies began implementing it to further add additional humor to comedy films. The plot often follow the convention of another genre such as action, drama, horrors, etc. A film can be categorized as comedy by its visual entertainment and humor.



War Films

Examples:
1. Inglorious Bastards (2009)
2. The Hurt Locker (2008)
3. Defiance (2008)







Narrative Conventions:

War films often explore the destructions and effects of war, hence its name. It frequently takes place in areas of war, and much are made during times of war. In the past, war movies were used as a means of propaganda in order to influence the population to enlist and provide assistance in the military. War movies were used to glorify a certain idea that a together a nation shared and acted as a call to action. As the genre developed to how it is seen today, it depicts the physical and emotion struggle of the protagonist in entering the war. Characters are usually a group of men that are thrust into the war zone unprepared and unequipped with the skills needed to survive. As the plot progresses, the character undergoes an emotional change to adapt to the environment of war. Oftentimes, the main protagonist has a love interest back home away from the war and this can be the reason for his perseverance and strength in order to return safely. The war genre's plot is often fueled by either revenge or personal issues.