Tuesday, 28 January 2014
Memento Opening Analysis
Memento is a mystery thriller released in 2000. Staring the likes of Guy Pearce, Carrie-Anne Moss and Joe Pantoliano, the film is based on a Jonathan Nolan story and is Directed by Christopher Nolan. Nominated for 2 oscars, its a highly acclaimed film with some interesting and unique attributes, as the opening proves. In this analysis I will be looking at the camerawork, editing, sound and mise en scene throughout the opening 2 minutes of the film, using pictures (found at the bottom of the post) to help explain my point, along with the film extract. The following takes place from 0:00 to 1:43 of the extract.
The beginning of the film opens with a hight angle shot, looking down at a small, square, fully developed picture (Picture 1). Looking closer at the pictures content, we see it portraying a gruesome scene, with blood splatters surrounding lifeless man lying on the floor in his blood. Dramatic violin music plays to reflect the horror and violence seen in the picture. The non-diegetic music is soon accompanied by the diegetic sound of the photo being shaken. At this point we know very little about why and how this scene has occurred, or even anything about the person holding it other than their white ethnicity. Throughout this scene, the opening credits are displayed in the foreground.
The opening continues in its uneventful manor, as we continue to view the very same photograph. These types of photographs usually become clearer and more vivid as time passes. In this scene, we notice that as time passes, the picture becomes more faded and difficult to see (Picture 2). The person holding the photograph shakes it, only for it to become even more difficult to see, as we watch the image slowly fade away.
As more time passes, the camera is still yet to move and the dramatic, violin music still plays. The continuation of the photographs fading now shows a completely blank space where it used to be (Picture 3). From this the viewer can soon realize that time is in fact reversing. It gives the sense that the memory of the scene is slowly fading away, which strongly relates to the films entire story of memory loss. From 0:00 to 1:10, just one camera angle is used and no editing excluding the opening credits. This creates many questions from the viewers point of view, but is yet to answer any. Up to this point have not seen anything except a fading photograph and a hand.
From 1:10 onwards, we start to get answers to some of these questions. The story line begins to develop as we see the now blank picture, going into the camera that has just taken it (Picture 4), followed by a flash of light to signify the picture being taken accompanied with the diegetic shutter sound. We follow the persons hand as feeds the photograph back into the camera, whilst still not revealing their face. The violin soundtrack finishes in replacement for a more subtle yet aery, high pitched tune.
The camera then pans upward to finally reveal the persons face (Picture 5). From the short close-up of their face, we can tell that he is a man, and notice his battle-scarred face. His cheeks and eye area are ridden with scars, presumably caused by being involved in a fight. From this presumption we can link the conflict caused scars with the bloody scene from the picture. The dark lighting positioned on his face creates a mysterious image to the character, in which we know little of.
We then cut to a shot of a stream of blood, climbing up the wall (Picture 6). despite not giving much away, we instantly link this shot with the blood seen on the picture. From the different close-up shots shown in series, we gather and build up a good idea of the scene, which we saw through a kind of, 'establishing shot' from the photo the man took. We then get a birds eye view of the body, lying in its own pool of blood (Picture 7). Its clear to see the man lying face down to the ground has suffered a fatal blow, but we do not yet know who is the culprit for his death.
After another collage of scene setting shots, cutting from one to another, the camera focusses on a shell of a bullet (Picture 8). As the viewer distinguishes what the object is, the shell starts to circle and eventually lifts. Bullet shells are produced after a gun shot has been fired, hence we then realize how the man was killed. As the opening is played in reverse, the viewer is also given just enough time to gather we are about to witness the shooting. The non-diegetic sound quickly become increasingly loud, building the anticipation for the gunshot and drama which is about to unfold.
The final notable shot of the opening 2 minutes is of the scarred man shooting the gun into the neck area of the mustached man. Though we do not know why he has shot him, we get a good understanding of how the scene would be played not in reverse. The gun produces a flash, just after we saw the bullet shell previously on the floor, enter the weapon. The swift, and quick cuts in the editing builds up the tension for finale to the opening. The scene ends with the groan of agony made by the later dead man as he is shot dead.
The beginning of the film opens with a hight angle shot, looking down at a small, square, fully developed picture (Picture 1). Looking closer at the pictures content, we see it portraying a gruesome scene, with blood splatters surrounding lifeless man lying on the floor in his blood. Dramatic violin music plays to reflect the horror and violence seen in the picture. The non-diegetic music is soon accompanied by the diegetic sound of the photo being shaken. At this point we know very little about why and how this scene has occurred, or even anything about the person holding it other than their white ethnicity. Throughout this scene, the opening credits are displayed in the foreground.
The opening continues in its uneventful manor, as we continue to view the very same photograph. These types of photographs usually become clearer and more vivid as time passes. In this scene, we notice that as time passes, the picture becomes more faded and difficult to see (Picture 2). The person holding the photograph shakes it, only for it to become even more difficult to see, as we watch the image slowly fade away.
As more time passes, the camera is still yet to move and the dramatic, violin music still plays. The continuation of the photographs fading now shows a completely blank space where it used to be (Picture 3). From this the viewer can soon realize that time is in fact reversing. It gives the sense that the memory of the scene is slowly fading away, which strongly relates to the films entire story of memory loss. From 0:00 to 1:10, just one camera angle is used and no editing excluding the opening credits. This creates many questions from the viewers point of view, but is yet to answer any. Up to this point have not seen anything except a fading photograph and a hand.
From 1:10 onwards, we start to get answers to some of these questions. The story line begins to develop as we see the now blank picture, going into the camera that has just taken it (Picture 4), followed by a flash of light to signify the picture being taken accompanied with the diegetic shutter sound. We follow the persons hand as feeds the photograph back into the camera, whilst still not revealing their face. The violin soundtrack finishes in replacement for a more subtle yet aery, high pitched tune.
The camera then pans upward to finally reveal the persons face (Picture 5). From the short close-up of their face, we can tell that he is a man, and notice his battle-scarred face. His cheeks and eye area are ridden with scars, presumably caused by being involved in a fight. From this presumption we can link the conflict caused scars with the bloody scene from the picture. The dark lighting positioned on his face creates a mysterious image to the character, in which we know little of.
We then cut to a shot of a stream of blood, climbing up the wall (Picture 6). despite not giving much away, we instantly link this shot with the blood seen on the picture. From the different close-up shots shown in series, we gather and build up a good idea of the scene, which we saw through a kind of, 'establishing shot' from the photo the man took. We then get a birds eye view of the body, lying in its own pool of blood (Picture 7). Its clear to see the man lying face down to the ground has suffered a fatal blow, but we do not yet know who is the culprit for his death.
After another collage of scene setting shots, cutting from one to another, the camera focusses on a shell of a bullet (Picture 8). As the viewer distinguishes what the object is, the shell starts to circle and eventually lifts. Bullet shells are produced after a gun shot has been fired, hence we then realize how the man was killed. As the opening is played in reverse, the viewer is also given just enough time to gather we are about to witness the shooting. The non-diegetic sound quickly become increasingly loud, building the anticipation for the gunshot and drama which is about to unfold.
The final notable shot of the opening 2 minutes is of the scarred man shooting the gun into the neck area of the mustached man. Though we do not know why he has shot him, we get a good understanding of how the scene would be played not in reverse. The gun produces a flash, just after we saw the bullet shell previously on the floor, enter the weapon. The swift, and quick cuts in the editing builds up the tension for finale to the opening. The scene ends with the groan of agony made by the later dead man as he is shot dead.
1
2
3
4
5
6
7
8
9
Extract - 0:00 to 2:00
Tuesday, 21 January 2014
The Job is Done (Preliminary Task)
A short clip practising different shots, and looking into how effective they are in portraying the idea of the scene.
The clip starts by tracking someones feet whilst walking.
Match on action shots were used when going through the door, cutting from frame to frame showing that no time has passed.
Finally, the 180 degree rule is used to film the brief conversation between the two characters, having there head and shoulders in the foreground and the person speaking as the focus.
The clip also includes continuity editing, also known as invisible editing, to produce an almost seamless string of video. Here is the finished product.
Reservoir Dogs Reenactment Preparation
About the Sequence
To-Do Checklist
- Number of Shots: 11
- Number of Actors: 8
- Music: George Baker - Little Green Bag
- Cigarettes x2 (one larger cigar)
- Toothpick
- Gold Necklace
- Black Sunglasses x5
- Black Suit, Tie and Shoes
- Black Polo, Grey Trousers and Black Shoes
- Light Blue Shirt, Black Trousers and White Trainers
- Steven
- Tom
- Faheem
- Marshall
- Jake
- Ali
- Iman
- Adam
- Kareem
Date, Time and Location
- Saturday 25th January 2014
- 11:00 AM
- Cafe: TBA
- Tracking Shot: Grove Hill, Harrow
- Ending: Harrow Bus Station, Harrow
Calculate Number of shotsActors RequiredCostumesPropsLocationsSource MusicRecord VoiceOverShoot ScenesEditAdd TitlesFinish
Silence of The Lambs Analysis
Silence of the lambs is a well known and highly rated film released back in February 1991. Directed by Jonathan Demme, the thriller is based on the Thomas Harris novel and Ted Tally screenplay. I will be discussing the mise en scene, editing, camerawork and sound within the opening sequence of the movie, using screenshots to demonstrate my point.
The film opens in amongst some trees. We find ourselves in a forest, setting a typical wary scene for the thriller genre. The camera pans downward to reveal a woman running through a forest, using a rope to assist her up the hill (Picture 1). Immediately we presume she is being chased by a phyco killer, using her character as a woman to show her vulnerability. We hear birds and wildlife in the background, along with the panting of the woman. In the next couple of shots we follow her through a tracking shot. The camera is handheld and shaky to accentuate her speed through the forest along with the fast paced continuity editing whig supports this argument (Picture 2).
At this point the viewer is still using their knowledge of previous thriller films to come to the assumption that she is on the run from danger. The next shot (Picture 3) reveals that these assumptions are false as she comes across netting. From this we gather she is intact completing an assault course. This comes to us as a surprise, as it goes against gender stereotype so often found in this genre. Whilst women are typically shown as weak, vulnerable and frightful, this character represents strength, courage and determination. We get a good look at her sweat stained jumper giving us some time perception as to how long she has been running for, and again reinforcing the elimination of the stereotypical woman image. As we watch her continue the assault course (Picture 4), we hear the deep voice of a man, addressing the woman as 'Sterling'. The fact that she is referred to as her surname gives her some level of importance and respect. This respect is shared between the two, as she replies 'Thank you, Sir'. Evidently this is a formal conversation, again adding to its importance.
At the conclusion of the conversation between the two characters, we get a close up of man, wearing a fluorescent yellow jacket (Picture 5). This single close up reveals a great deal as to what they are doing there and why. As the camera zooms into the mans face we notice the big, bold letters on his cap which spell 'FBI'. This shot is used to give the viewer more understanding of what is happening in the previous and following scenes. We can tell from this single shot that both man and woman are apart of the Federal Bereau of Investigations, completing a training course. The vertical pan that follows, show four signs; Hurt, Agony, Pain, Love-it (Picture 6). This highlights the attitudes and traits that are taught in the camp and what Ms Sterling is made of.
We soon cut back to the woman, jogging into the large, modern looking building (Picture 7), going past other trainees in the man time taking part in their drills. This sows she is one of many people taking part in these exercises, but the viewer can already tell that Ms Sterling is a character of significance as the camera has been following her movements from the very beginning. Now inside the building, we get an interesting shot of the woman walking into an elevator amongst nine, much taller men wearing the same uniform (Picture 8). Despite her comparatively small stature, she seems unfazed by them, and as we see in the next shot (Picture 9), we notice that she walks out of an empty elevator onto her floor. This demonstrates the passing of time and shows that the other men departed on a lower level, possibly showing the importance of the person (Mr. Crawford) she has been invited to talk to.
Shortly after exiting the lift, the camera focusses on a sign on a door which states 'Behavioural Science Services'. This is a clever shot to tell the viewer in what department they are currently in without the use of sound. From the shot we can tell exactly where we are in the building. In the concluding scene of the opening, Ms Sterling walks into Mr. Crawfords empty room. Her wandering eyes come across a wall, plastered with news articles and gruesome pictures of abused bodies (Picture 11), after a close up of the woman's shocked reaction. The non-digetic background music adds to the dark nature of the articled events, as the camera pans to reveal an ever growing collection of pictures and articles documenting a phyco killer. The final shot of the opening shows the arrival of Mr. Crawford. The camera defocuses on the woman in the foreground to show Mr. Crawford in clarity, suggesting his high level of importance.
1
8
10
The film opens in amongst some trees. We find ourselves in a forest, setting a typical wary scene for the thriller genre. The camera pans downward to reveal a woman running through a forest, using a rope to assist her up the hill (Picture 1). Immediately we presume she is being chased by a phyco killer, using her character as a woman to show her vulnerability. We hear birds and wildlife in the background, along with the panting of the woman. In the next couple of shots we follow her through a tracking shot. The camera is handheld and shaky to accentuate her speed through the forest along with the fast paced continuity editing whig supports this argument (Picture 2).
At this point the viewer is still using their knowledge of previous thriller films to come to the assumption that she is on the run from danger. The next shot (Picture 3) reveals that these assumptions are false as she comes across netting. From this we gather she is intact completing an assault course. This comes to us as a surprise, as it goes against gender stereotype so often found in this genre. Whilst women are typically shown as weak, vulnerable and frightful, this character represents strength, courage and determination. We get a good look at her sweat stained jumper giving us some time perception as to how long she has been running for, and again reinforcing the elimination of the stereotypical woman image. As we watch her continue the assault course (Picture 4), we hear the deep voice of a man, addressing the woman as 'Sterling'. The fact that she is referred to as her surname gives her some level of importance and respect. This respect is shared between the two, as she replies 'Thank you, Sir'. Evidently this is a formal conversation, again adding to its importance.
At the conclusion of the conversation between the two characters, we get a close up of man, wearing a fluorescent yellow jacket (Picture 5). This single close up reveals a great deal as to what they are doing there and why. As the camera zooms into the mans face we notice the big, bold letters on his cap which spell 'FBI'. This shot is used to give the viewer more understanding of what is happening in the previous and following scenes. We can tell from this single shot that both man and woman are apart of the Federal Bereau of Investigations, completing a training course. The vertical pan that follows, show four signs; Hurt, Agony, Pain, Love-it (Picture 6). This highlights the attitudes and traits that are taught in the camp and what Ms Sterling is made of.
We soon cut back to the woman, jogging into the large, modern looking building (Picture 7), going past other trainees in the man time taking part in their drills. This sows she is one of many people taking part in these exercises, but the viewer can already tell that Ms Sterling is a character of significance as the camera has been following her movements from the very beginning. Now inside the building, we get an interesting shot of the woman walking into an elevator amongst nine, much taller men wearing the same uniform (Picture 8). Despite her comparatively small stature, she seems unfazed by them, and as we see in the next shot (Picture 9), we notice that she walks out of an empty elevator onto her floor. This demonstrates the passing of time and shows that the other men departed on a lower level, possibly showing the importance of the person (Mr. Crawford) she has been invited to talk to.
Shortly after exiting the lift, the camera focusses on a sign on a door which states 'Behavioural Science Services'. This is a clever shot to tell the viewer in what department they are currently in without the use of sound. From the shot we can tell exactly where we are in the building. In the concluding scene of the opening, Ms Sterling walks into Mr. Crawfords empty room. Her wandering eyes come across a wall, plastered with news articles and gruesome pictures of abused bodies (Picture 11), after a close up of the woman's shocked reaction. The non-digetic background music adds to the dark nature of the articled events, as the camera pans to reveal an ever growing collection of pictures and articles documenting a phyco killer. The final shot of the opening shows the arrival of Mr. Crawford. The camera defocuses on the woman in the foreground to show Mr. Crawford in clarity, suggesting his high level of importance.
1
8
10
Wednesday, 15 January 2014
The Machinist Analysis
The Machinist is a popular 2004 phycological thriller. From the opening five minutes, many questions are raised about the main character, Trevor Reznik. Is he the hero? Is he the villain? Why is he disposing of a body? Why do we sympathise with him? and as the highlights, who is he?
0:33
1:16
1:46
We then cut to a scene where Trevor is now carrying the body, now rolled in some kind of blanket. We see him desperately struggle to carry the body, and through his pained look and facial expressions, we feel his agony, making us further sympathise with him.
2:10
Through a point of view shot, we can see a torch light in the distance growing bigger and bigger. We cannot see their face nor body, yet Trevor Reznik quickly attempt to get rid of the body in a panic, knowing the consequences of getting caught, although his attempt did not fully dispose of the body.
2:25
Trevor's second attempt at dumping the body also proved unsuccessful. After conjuring all his might he kicks the body down the gradient, only for it to unravel on full show. The emotion on his face shows us his frustration and disbelief that the body wont roll into the water, never to be seen again.
2:41
2:28
3:26
Frantically washing his hands after the incident, Trevor noticed a yellow post-it note behind him in the mirror. When he turns around we get a shot through his eyes. 'Who are you?' the note says, the very .same question the man with the torch asked.
Extract (0:00 to 3:28)
Camera Angles
A short video sampling different camera angles and techniques to acheieve interesting shots and create certain effects.
Wednesday, 8 January 2014
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