In this clip, there are three different scenes included so my analysis has been split into three parts.
Within the first scene of this clip, there are 2diegeticsounds and 2non-diegeticsounds included. The sound of the little boy's voice isdiegeticwhich is evident since we can visually see the boy's mouth moving in sync to what he is saying. The otherdiegeticsound which has been used is the sound of waves/water which is assumed to be diegetic since it fits with (and isparallelto) the setting of the scene (the beach) which contains water. This suggests that the sound of the water is part of the scene as opposed to being added on after filming. The use ofnon-diegeticsound is presented via the narrator's voice which has been edited into the scene post-filming. This is evident as his actions in the first scene do not show that he is speaking therefore proving that it is a non-diegetic sound. There is also the background music which is a non-diegetic piece that has been added on to the original clip in order to add a certain effect to these scenes. I believe that this music is parallel to the scene as it is calming music which is often an emotion associated with the beach, the setting that the characters are at. This music accompanies the narrator's voice as well, seemingly to set the tone of what the narrator is saying.
Both non-diegetic sounds used in the first scene are carried on into the second scene of this clip as the man continues to narrate throughout the next scene. However, 2 new diegetic sounds have been used: the sound of footsteps (people walking) as well as the voices of two characters. This is used in order to set the scene of what is going on.
In the next scene, the background music is gone, and as is the narrator's voice. Instead there are now only diegetic sounds, similar to that of the previous scene; footsteps and voices of 2 characters.
The sequence starts off with the main character conversing with his girlfriend Knives-Chau at the door, the camera cuts back and forth between the two during the conversation to show a sort of "ping pong" effect of conversation which makes the dialogue fast and witty, therefore adding a small amount of humour into it. During this part, the frame is at a close up to show that they are the only two in the conversation and helps the audience focus on both of them.
The dialogue ends quickly with a medium shot of the protagonist in the left side of the frame. Edgar Wright, the director, very cleverly uses this as a way to introduce a new character in the shot. He does this by making use of the empty space in the frame caused by the door and allowing the third character to open the door for a reveal of Stephen Stills.
The camera then cuts to the other side of the door where a medium shot is used to show both the protagonist and Stephen. The camera then zooms into a close up of the two which signifies the idea that the dialogue the two have is confidential between the two. This has a very significant effect on the audience as we believe we are in on their secret as the camera is very close to both of their faces. The camera then zooms back out to show a medium shot of all three characters. Furthermore, the shots where the camera is behind the door are taken from a high angle shot which gives the audience the sense that they are actually in the scene as if they are looking over the character's shoulders to see who is outside.
A pan shot is then used to show that Knives is entering the room, this makes the audience relate more to her as the camera is always either focusing on her or using mostly her perspective. This gives the idea that like Knives, the audience is also being introduced to the entire cast of characters and listening to the band play for the first time.There is another panning shot which first starts off from Scott and then quickly pans to Stephen. The shot then refocuses to Kim who is behind Stephen. It is almost as if the camera follows the dialogue in a linear format, which can be suggested is what the audience and Knives instinctively do. This makes a very comfortable scenario as it is what the audience is used to. The shot then focuses on Kim but as she shouts "One! Two! Three! Four!" the camera zooms in tighter into her with every exclamation. This use of sudden zoom signifies a sense of fast paced urgency and the audience automatically expects something big and loud.
There are then several tight close up shots of the instruments. What's interesting to note is that director purposely chooses to do close ups of not just the instruments but the parts which are making the noise, so we as the audience are really being made aware of the sound rather than the instruments themselves. During these various shots, we see medium shots of Neil and Knives who are watching the band play. These are used as a shot/reverse shot technique where we see the two watching and then we see shots of what they are watching. This allows the audience to get sutured into the scene and atmosphere. There is then an unusual tracking shot, as unlike normal tracking shots which are anchored to a character and zoom in, this shot is anchored to the band and zooms out, which in turn also causes an unusual elongation of the setting. This scene is also very theatrical in the sense that it is presenting the band to the audience as an attempt to be a dramatic or impressive entrance.
After the credits, we see a lot of shot/reverse shots again, with the focus being Knives. We see what she is seeing and then there are various shaky shots of the band playing music, the shaking is effectively used to mimic and link with the nature of the music in the background. There are a few more close ups of Knives to over exaggerate her awe at the band to show that she really does think they are amazing and creates a sense of humour for the audience as well.
Ang Lee combined a tale about a mystical, legendary 400 year-old stolen sword (named Green Destiny), gravity-defying martial arts combat and kinetic action sequences, and star-crossed lovers.
It marked the first major American cross-over success of an Asian action film. Lee's martial arts film blended state-of-the-art fighting effects with a 19th century fantasy story of love and bravery.
The sword was stolen by the 18 year-old district governor's daughter - the impetuous, wilful and headstrong masked thief Jen Yu (Zhang Ziyi) while apprenticing under the harsh tutelage of bitter, heartless and treacherous arch-criminal Jade Fox (Cheng Pei-pei).
The film's major set-piece after the theft was the beautifully-graceful, choreographed, stylised, and gravity-defying, blindingly-fast escape of Jen - she scaled up walls, across buildings, down alleyways, and over rooftops to attempt to elude the pursuit of security officer and female warrior Yu Shu Lien (Michelle Yeoh) who wanted to retrieve the stolen sword.
We get an bird’s-eye view shows a scene from overhead. Overhead of the hustle and bustle of the town, this camera shot makes the audience feel like ‘God’ as God watches over everything that happens over our heads. People would look as tiny as ants and that also makes the audience feel tall and proud. An enigma code is created at the beginning as the the guard walking sees something fast pass him but only getting a glimpse through the medium close up shot which leaves the empty space of the roof for the audience to also see the dark figure run past. The parallel sound creating action codes is produced with the light clicking when the thief is about to steal the sword and then quickens when the guard opens the door, the audience may think the thief will be caught, but the guard doesn't notice till the sound of loud cymbals are heard, the guard then gets kicked in the face.
They were identified in medium close-ups before the drifting-and-floating pursuit. With respects to the special features of the Chinese martial art film. Martial art in the West and the East direction, but it has a "fast" and "slow" polarisation difference ,than Western films dealing with the fight scenes, they will deliberately slow down the action so to clearly show the Chinese martial arts films are used to using a lot of quick shots, which manufacture the tense atmosphere of martial arts. So in shooting to this film, the director focused more on how to make martial arts become even more beautiful, so in the camera movement and the focus would always change, let the audience also can feel the emotion from the performer s movement.
Then once again when the two agile warriors began hand-to-hand fighting on the ground. The camera tilts, so to match the somehow gravitational fight scene. We get use of camera panning when the character Yu Shu is in pursuit of Jen Yu, one character is on the ground while another is running atop the roof, the camera pans up to catch a glimpse of the quick roof jumper and so gives Identification to the audience as it would be as though they were running behind the officer on the ground and also like she caught a glimpse of the girl on the roof. This use of panning is used frequently for the running roof top scenes.
Crane shots are used when the two meet and start their fight we get the camera angles moving up and down to match the gravity-defying and fast fight scene. Continuous use of long shots to be able to show the whole fast fight scene without cutting of the whole scene- long shots used for leg combat while medium shots are used when they are using their hands. The way in the shooting, the director Ang Lee has done all the details in every possible way. in the light text effect, he spent most of the low key lighting to keep the mystery of kung fu; the lens shooting, he spent a lot of The third-person perspective and two shot make the audience appreciate the traditional Chinese martial arts, and he can also take care while a lot of details, such as eye contact play against the two sides, the audience can understand the meaning of what they want to say without the dialogue. And in all of the shooting locations, those are based on the original to choose the location.
Later in the film was another climactic, visually-stunning sword-fight scene set amidst lush green treetops when heroic, Wudan-style martial arts master Li Mu Bai (Chow Yun Fat) battled young fighter Jen on the bending limbs of thin tree branches in a lush bamboo forest.
These videos had clips in chronological order meaning there was continuity editing. Which creates a well thought cinematicexperience for ,us, the audience. The scenes of the clips used lighting some natural and some un-natural lighting, such as the low-key lighting in La Sombra. There were extreme close ups and medium shots, this allowed the audience to see the variations of different shots the students were able to access. The use of non-diagetic voice-overs in Transgression as well as parallel sounds was well done and created tension for the audience. Adding transions into the videos via editing worked fantastically to showcase their skills to dissolve scenes to the next one. Overall, all videos were all well done to a high quality which I expected and will hope to reach that level with my Media videos.
TASK 4: Citizen Kane by Orson Welles(1940) In Citizen Kane the scenes are static and unmoving, a typical aspect of the time of 1940s with the camera on some sought of tripod, incorporated in the video are close ups with acute shots. Such as establishing shots, medium shots, wide shots, close up and extreme close ups used. Tilts and extreme zooms are incorporated also. They established shots used show to the audience what is going on in the scene and the setting of it and grant the audience quaint knowledge about the scene itself, but also not giving too much away. the cinematography is sound and editing of the movie. The enigma code is produced through the few sounds heard in the scene creating the build up of tension. Synergy is created through the use of sounds, with mostly parallel sounds. With the many transitions used creates mystery and so interests the audience into the plot more.
TASK 5: Moulin Rouge by Baz Luhrmann The cinematography works for the second clip. The parallel sound creates the synergy contrasting the image of the scene. # In Moulin Rouge, there opening incorporates quick cuts and many transitions which gives a sense of a hubbub in the scene and setting. The component of strain in the scene makes the audience interested with it as they are seen quite fast. There is a lot of hypersexualisation of the females in the scene with uses of close-ups to show realism and also to the audience the plot will be around these types of people the plot surrounds; but not giving too much of the story away and so intrigues the audience. TASK 6: A Touch of Evil by Orson Welles
In A Touch of Evil the tension is built with the use of slow transitions. The slow pace of the clip builds up suspense round the scene. The clip uses the 180 degree rule which doesn't leave the audience confused. Medium close up/close up shots allow mystery to flow through the clip as the audience is still left in the dark about what is about to happen and build up the story line. The over the shoulder shot helps to build tension and realism in the scene but also identification as the audience is emerged with seeing what the character is doing. Thesound and cinematography work with the parallel sound, creating synergy within the scene where the story creates realism within it. Use of sound bridges within the scene build up tension and the use of diagetic sound is also intense to greater immerse the audience to think they are in the scene.
"Blade Runner"(1982), from what I can see, the key themes or conventions all point to a typical sci-fi genre. The city scpae is made to seem modern and futuristic by tall buildings having resemblance to UFOs and props used such a futuristic gun. The colour scheme of the poster strongly convey a theme of danger and darkness with the use of the coloured images.
You can notice the actors name to be much larger and take up the centre bottom of the poster, emphasising how the actor already has established a large fan base and so the movie will gain its popularity with the actor's name being in the movie. To continue, because on the poster the male character is much larger than the female may suggest the movie's target audience to be directed at males from 16-28 of age. The male is made to be bigger and shades than the female character leaving her in a much darker light; she holds a cigarette (which may not be advertised to children because of this) and has on red lipstick which could lead to the idea of a 'femme fetal'. The idea of the woman being of a love interest or obstacle is highlighted with the lighting and her being beneath him but still have a role as she is on the poster itself. The male has a bright light shining from behind him suggesting he is the protagonist but also the one who should bring about a peace or conclusion to what fight the poster is eluding to.
2. SCARY MOVIE 2
"Scary Movie 2"(2001) is a hybrid movie as it both includes horror and comedy. There is the use of a conventional colour scheme known to distinctive horror movies proposing the idea of danger and risk to the movie. But, the exaggerated facial expressions suggest the comedy side for the film that will be in it. The poster may advertise to young adults due to the premise that this movie may be a form of satire or parody, the reason as more commonly know Horror movies; "The Exorcist"(1973), "MAMA"(20130, aren't focused on the comedic value of their movie. Also the sexualised women and humorous content in the front row of the poster may draw the attention of a demographic of late teens and early 20s. Having seven characters who all have a large fan may lead to success and popularity for the movie, drawing attention to the poster from the public.
3. UZACK
Uzack is a drama film and is focused on the main character perspective during a time of war and turmoil. The poster suggests that this is of a 'world cinema' as the poster has foreign language scripted at the top. The dark sombre and smog colour scheme and the dark silhouette of the character centre around the theme of the movie such as despair and anguish. To add, the pathetic fallacy of the snow and dark clouds casting a shadow over the industrialised town, with the soot and ash coming out of a factory further connote to the themes of despair. This movie is also part of arthouse film which may elude to the longer reviews as arthouse movies don't need a large demographic of an actor or actress to be popular as it is more repute than commercial.
4. I'M NOT SCARED
This movie is another representation of 'world cinema' as it is of Italian origin. The movie is a quite a hybrid movie as it contains crime fiction, thriller, mystery, drama and many more. The sans serif typeface is merged with a fiery input ,and so, the movie may hold aspects of thriller or horror. The protagnist of the movie is looking down into the a hole and this striking angle gives a different viewpoint to the audience viewing it. The audience may not be suitable for children even with a child in the poster itself and may weigh to an older demographic of people.
5. SIN CITY
This poster suggests the movie is of thriller, action and detective genre as the lightingsetting reinforces this idea. The colour scheme of dark poster and black and white colour scheme, but also the props of guns at multiple angles held by the actors also reinforce the motif of action/detective .Also, because of the colour scheme of the poster the demographic may tilt toward 18+ bu also because of woman in the provocative pose may not be for younger audiences. The five main actors in the poster are all in focus, from the poster, the protagonist can be sighted with the tilt of the poster directing the to the male in the middle making him the largest and suggest the most dangerous.
6. PIRATES OF THE CARIBBEAN
"Pirates of The Caribbean"(2003) is another hybrid as it focuses on action and adventure since mise-en-scene. There are key visual conventions to the age of Piracy at the time with set-pieces such as the large ships, skull and crossbones and dangerous sea creatures. The conventionalcolour scheme for any fight action based movie with hues of green and dreary lighting to emphasise how the movie will be solely based mostly on the ocean. The three actors (with their names boldly at the top of the poster) are established as the main roles by the poster and because of popularity will be part of the movies success. The target audience may be teens and young adults but mostly male due to the lack of females in the poster which may not prompt the demographic of females.
7. BRIDE AND PREJUDICE
The title is an example of intertextuality as the title may suggest a parody/ comedy of Jane Austin: Pride and Prejudice. The two main characters are shown to have a celebration behind them, with a city view and the famous Taj Mahal suggesting the fact it may be a romance of two people from separate countries or backgrounds.To add, the colour scheme is vibrant indicating a cheerful and happy storyline. The cast seem to all be of Eastern Asian origin, this may indicate Bollywood type genre and so may include singing and dancing as a main plot of the film. Common romantic Bollywood films may draw the large demographic of young female fans rather than a male audience.
4. MILLION DOLLAR BABY
The poster eludes to a crime, action and thriller hybrid. The poser is nearly all black and so the use of this dark colours conote to mystery. The sans serif typeface at the bottom of the poster with the red colour to highlight the actors last names may indicate to danger/passion in the movie. The main character has her back facing away (adds to the tones of mystery of the poster) and face looking off to the side and is placed skillfully into the middle, her being placed there shows she is the protagonist and adds to the fact the target audience for the film will push towards females and also males too, as the female is quite muscular and so may not fit the gender norms placed on females.
