Objective: To develop understanding of the new business model used by Radiohead.
How did Radiohead release “In Rainbows” (production, distribution and marketing)?
In Rainbows was recorded in London, Somerset, Wiltshire, and Oxfordshire with producers Mark Stent and Nigel Godrich. Radiohead worked on In Rainbows for more than two years, beginning in early 2005. In between recording, the band toured Europe and North America for three months in mid-2006.
In Rainbows is the seventh album by the English alternative rock band Radiohead. It was first released on 10 October 2007 as a digital download, followed by a standard CD release in most countries during the last week of 2007.
In Rainbows was physically released in the UK in late December on XL Recordings and in North America in January 2008 on TBD Records, charting at number one both in the UK and in the US.
Days after announcing the album's completion, Radiohead released In Rainbows as a digital download that customers could order for whatever price they saw fit. Upon its retail release, In Rainbows entered the UK Album Chart and the U.S. Billboard 200 at number one; it went on to sell three million copies worldwide in both digital and physical formats. The album earned widespread critical acclaim, and was ranked as one of the best albums of 2007 by several publications. In 2009, the record won two Grammy Awards for Best Alternative Music Album and Best Special Limited Edition Package.
Radiohead retained ownership of the album recordings and song compositions for In Rainbows. The download and "disc box" versions of the album are self-released by the band, while for the physical release, the band licensed the music to record labels.
The album's licensing agreements for all releases continue to be managed by the band's publisher, Warner Chappell Music Publishing.
Success (figures/reception)
In early October 2007, a spokesman for the band reported that "most people [paid] a normal retail price with very few trying to buy [the download version] for a penny" and that most fans had pre-ordered the disc box. Citing a source close to the band, Gigwise.com reported that by the day of its online release, the album had sold 1.2 million copies.
The claim, however, has been dismissed by band manager Bryce Edge as "exaggerated".
According to an Internet survey conducted by Record of the Day of 3,000 people, about one-third of people who downloaded the album paid nothing, with the average price paid being £4. When asked in a December 2007 interview by The Observer how many disc boxes were ordered, the band members responded with various answers ranging between 60,000 and 80,000. In October 2008, a report from Warner Chappell revealed that although most people paid nothing for the download, pre-release sales were more profitable than the total money from sales of Hail to the Thief. The report also stated that the disc box sold 100,000 copies.
The album's download and "disc box" sales were not eligible for inclusion in the UK Albums Chart because the website is not a chart-registered retailer. The week of its retail release, In Rainbows peaked at number one on the UK Album Chart, with first week sales of 44,602 copies. The album entered the Billboard 200 at number 156 due to street date violations, but reached number one on the chart the following week. The record sold 122,000 copies in the United States in its first week of official release, according to SoundScan. In October 2008, the band's publisher Warner Chappell Music Publishing revealed that the album had sold three million copies (including digital and physical format sales) since the album's physical release in January. The vinyl edition of In Rainbows was the top selling vinyl album of 2008.
Information found from wikipedia.
Tours:
October 08:
-Japan
August 08:
-USA
-Canada
July 08:
-Netherlands, Denmark,
-Belgium
-France
-Germany
June 08:
-Ireland
-France
-Spain
-Italy
-Germany
-England
-Scotland
May 08:
-USA
March 09:
-Mexico
-Brazil
-Argentina
-Chile
http://www.radiohead.com/tourdates/
Use of new technology:
- Used the internet for the listeners to download music
- By keeping a record of the downloader’s email addresses, they could market and advertise their work and news about gigs and tours, for example.
- It was cheaper for them to produce their own music and distribute it online, without a record company (allowing them to gain the profits). The advance in technology (computers and software) allowed them to do this.
- The internet allowed their music to globalise so more and more people could listen, resulting in them having more fans than the loyal ones they already had.
- Fans of their music could either download the music for free or they could pay for what they thought was a reasonable price.
The importance of audience:
There is a wide-spread audience due to the band starting early so over the years, there has been more and more people enjoying their music. The audience is made up of different ages, from young adults, to people around their 30’s. The band have succeeded on behalf of the profits from the downloads and the money from the numerous tours and festivals, for example, The Lovebox Weekender festival. The wider the audience is, the more support they have, so they can count on them for their profits.
Tuesday, 3 March 2009
Radio Head (music industry)
Thriller Evaluation
In what ways does your media product use, develop or challenge forms and conventions of real media products?
Our media product uses forms and conventions of real media products such as: ‘Kidulthood’, ‘Layer Cake’, ‘Vertigo’, ‘China Town’ and ‘Millers Crossing’. There are specific thriller themes and signifiers that we intended to focus on and use to develop the thriller genre and our own product. One signifier is a typical male protagonist and flawed hero. For instance, China Town’s main character has a fear of heights consequently portraying him as a flawed hero. He also happens to be a smoker and drinker which are additional flaws.
The most important influences from other films that helped us develop our thriller were mise-en-scene and camera work. A typical thriller signifier is staircases (-all of the films we have considered to be most influential had), as when you look down the banisters they can create a spiral. Spirals can connote how thriller narratives can be twisting and turning and therefore unpredictable, similar to the party scene which gets out of control in Kidulthood.
Many of the shots are taken at night, which increases the mysterious and intimidating atmosphere. Thrillers show that crimes are often committed at night, so this was the main reason we wanted to film and set the introduction in the dark. This could be associated with the numerous scenes set at night in Kidulthood and Layer Cake. An example in our film includes, when the two young men meet for the gun exchange. The darkness hid the older man’s face and therefore his identity too, creating questions such as: “Who is he?”. A comment from a student evaluating our product actually praised this effect. On the other hand, a number of evaluators mentioned the lighting in our thriller was not high quality. I do agree with this as there are parts of the film where it is difficult to distinguish the setting and what was going on. If we were to re-create the parts in the darker lighting, we could have either found better lighting and attached lighting on the camera, or change the location.
China Town has another convention that is apparent in our film, and this is the use of shadows. In our thriller the shadows are often cast on the walls and on the ground. It creates a mysterious and sinister atmosphere as commonly only a silhouette is visible.
The characters in all of the influential films owned a gun. In Millers Crossing, every character appears to have a gun of some sort, which shows how they want to feel more powerful, protected and manly. In our thriller, the gun (shown in the exchange) is the main icon that we needed to suggest that there would be some kind of violence and confrontation. The issue of young adults getting involved with this kind of lifestyle is also shown more realistically in Kidulthood.
The editing in our thriller introduction was fast- paced with the use of shortened shots to make the film introduction hooking. Layer Cake has some very swift shots that merge rapidly together, an example is when the character “XXXX” is sitting in his armchair, having taken drugs and alcohol, and then the next shot of him with his balaclava on about to kill a man. By building tension, it helps engage the audience and keep their attention focused on the film.
The genre of music we used was electro-computer-generated and worked extremely well with our film. The soundtrack is quite similar to those in Layer Cake and Kidulthood, as it went from a slow tempo to a quicker tempo. The music was a crucial decision that we had to make and get right in order for the whole introduction to fit together. As the introduction draws to an end, the close up of the gun and the sudden black out is complimented by the music. The beat and rhythm of the soundtrack was successful in building tension and creating suspense.
The use of varied camera shots and techniques were based on the shots seen in other thrillers. One example is in Millers Crossing, where the two thugs walk up the stairs to their victim’s bedroom, guns at their side. We did a version of this for the older man. This was also to show how the characters differ from one another, in how they are dressed- casual and more professional.
Our thriller did not specifically challenge forms and conventions of real media products, we instead chose to use and expand on the thriller genre. Our knowledge of thrillers was built up around looking and analysing other thrillers.
How does your media product represent particular social groups?
The gender of the characters in our thriller was all male. The ages were different, ranging from 17-18 year old males, and an older male around 30. The younger males were the thug gangsters who plotted to invade the older male’s house. The older male was a classy gangster, in that he had a good job making reasonable money and had a big house. The younger males’ class was low and quite poor. This is shown how they had to resort to committing a crime in a nicer area than from their council estate homes. The race of the cast was mainly white, except the character Jitmal (gang member) whom is mixed race.
In our thriller, we did not represent women, which could be sexist in some views. The idea was women not getting involved with this kind of lifestyle. The men may be represented as: violent, scheming, desperate criminals, who think they are above the law. We wanted the men to appear as though they wanted power and control, as they did not have with their finances. The use of guns shows how they will do anything, maybe to make themselves look threatening to others. One member evaluating our thriller in fact noticed how there were no females cast (Why weren’t there any ladies?).
Our thriller does not have one main villain or hero as both our main characters do not fit into these roles. Nevertheless, Simon and the older man could both have villain characteristics, for instance, they both appear violent as they are holding guns. The victim role could also be either, as Simon is being made to invade the house through peer pressure. The older man is perhaps more of the victim as his house is being broken into.
What kind of media institution might distribute your media product and why?
The distribution that would probably be the most willing to distribute our film may be Working Title films, as our thriller is not independent and is more main stream. Working Title has distributed many mainstream films, such as "Bridget Jones's Diary" due to their convergence with Universal Studios.
The two examples that were mostly influential to us were Kidulthood, Adulthood and Layer Cake. Kidulthood was distributed by Revolver Entertainment, who have mainly distributed thriller productions which include crime thrillers and French noir thrillers and has several best selling and award-winning films. Layer Cake was distributed by Sony Pictures Classics, a separation of Sony. P. Entertainment which obtains finances and distributes independent films from the USA.Our thriller is more main stream so it would more likely be exhibited through a multiplex outlet such as Odeon or Vue.
Who would be audience for your media product?
The audience for our media product is made up of ages between 16- 22, whom include students, C1 and C2 workers based on the demographics. The gender of our audience will consist of males as the cast of the film is completely males. This could have an affect on the overall audience as many females may not enjoy it. On the other hand, we researched television shows that the audience may watch for entertainment, examples include: CSI, where the demographic 'females under 18' had an overall 429 votes resulting with the highest average being 9.4. Males under 18 were close with: 486 votes making 8.9 the highest average. The second example, The Bill was reasonably interested the demographic 'females under 18' with 14 votes and the highest average of 9.0. This could be indicating that females may enjoy the programmes. Further more, the influential thrillers have contributed to the audience as we took into account what audiences viewed (and enjoyed) them.
How did you attract/address your audience?
The ways in which we attracted our audience were through four, useful factors. Firstly, the characters in the film were similar ages to our target audience. The age range was between 16- 22 year olds so by choosing actors around this age it probably made them able to relate to the characters. For one, clothing and sense of style would contribute to how the audience will relate to the characters. The main young character, Simon is the narrator, as in we see what happens in his eyes, so the audience will relate to him, as we see how he does and copes with his actions.
The setting and location, along with the mise-en-scene may be able to relate to the characters too, if they live in a similar area to that in the film.
Further more, the narrative explores how gangs and friends can be loyal to one another, despite their differences. This could add to the chances of the audience being able to relate.
Our group thought we did hook the audience as it had a mysterious and intriguing narrative and plot. The gun shot at the end was the climax at the end, that we achieved by using a gun shot sound, with the black out, to leave the introduction as a cliff hanger.
What have you learnt about technologies from the process of constructing this product?
One of the main processes of constructing our thriller was the camera work, whilst filming. We developed an understanding of how to use equipment as we were not that experienced at the start of the project. This includes how to use tripods, and the camera. We learnt how to shoot footage, using camera techniques that we had briefly practiced beforehand.
The camera techniques include how to use shots, movements and so on for specific effects. For example, we used a number of mid shots to show the body language, the characters position, expressions and the actions they are doing, for instance when Simon breaks into the kitchen window.
The editing process was the most difficult to complete as we were not acquainted of the software (Adobe Premiere Elements). Despite this, we soon became aware of how to use the software and most importantly how to use the effects to make our thriller polished.
During the process, we developed an insight to how you have to cut the captured footage to go in a readable narrative. The majority of the audience found our narrative understandable and easy to follow. The most challenging aspect of the editing process was to get the whole clip to be on a certain time limit. We had to in fact cut a whole piece of filming in order for it to be closer to the two minute limit.
Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
To start the project, we had to organize methods of planning our thriller production. We did have lack of communication to begin with but as we got into the project more, this did improve. The planning consisted of thinking of initial ideas for what our thrillers plot could be. Once we had a basic idea that we liked, we created storyboards that helped to suggest shots, movements, mise-en-scene, and so forth for the introduction. This was relatively similar to the process of the preliminary task but was more detailed and thorough. We also had to think about the casting and the simplest way to designate roles was to ask people we knew.
The filming process was difficult in aspects of how we had to make extra time to do the filming. There were many occasions when we had to leave the filming to the next day or another time, therefore delaying the production.
The preliminary task helped us get familiar with how to use the editing software, for example, cutting and rendering it. Whilst we edited our thriller, it was important to make the narrative as readable as possible, by sequencing the shots. Therefore helping the audience understand and engage with the film.
We did have to shorten the piece of music as it was too long. We also cut and moved a specific part of the soundtrack for the climax at the end making the audience hooked and want to continue watching the rest.
The next process was how to export the product as an avi. file to Windows Media and then online to YouTube. This was a less challenging thing to do and we were pleased when the final product was on.
Overall, I have learnt an incredible amount about all the processes which you complete to create a film. The roles in which I most played a part in were the planning and editing processes. In the filming process I helped with making sure the set was appropriate, for instance, the lighting in the hallway. We had to decide on the filming process, who was steadiest with the camera and this was my partner Roxxy. My other partner played two of the characters in the film which meant that he was important in the casting. We all learnt how to overcome problems by working as a team.
Our media product uses forms and conventions of real media products such as: ‘Kidulthood’, ‘Layer Cake’, ‘Vertigo’, ‘China Town’ and ‘Millers Crossing’. There are specific thriller themes and signifiers that we intended to focus on and use to develop the thriller genre and our own product. One signifier is a typical male protagonist and flawed hero. For instance, China Town’s main character has a fear of heights consequently portraying him as a flawed hero. He also happens to be a smoker and drinker which are additional flaws.
The most important influences from other films that helped us develop our thriller were mise-en-scene and camera work. A typical thriller signifier is staircases (-all of the films we have considered to be most influential had), as when you look down the banisters they can create a spiral. Spirals can connote how thriller narratives can be twisting and turning and therefore unpredictable, similar to the party scene which gets out of control in Kidulthood.
Many of the shots are taken at night, which increases the mysterious and intimidating atmosphere. Thrillers show that crimes are often committed at night, so this was the main reason we wanted to film and set the introduction in the dark. This could be associated with the numerous scenes set at night in Kidulthood and Layer Cake. An example in our film includes, when the two young men meet for the gun exchange. The darkness hid the older man’s face and therefore his identity too, creating questions such as: “Who is he?”. A comment from a student evaluating our product actually praised this effect. On the other hand, a number of evaluators mentioned the lighting in our thriller was not high quality. I do agree with this as there are parts of the film where it is difficult to distinguish the setting and what was going on. If we were to re-create the parts in the darker lighting, we could have either found better lighting and attached lighting on the camera, or change the location.
China Town has another convention that is apparent in our film, and this is the use of shadows. In our thriller the shadows are often cast on the walls and on the ground. It creates a mysterious and sinister atmosphere as commonly only a silhouette is visible.
The characters in all of the influential films owned a gun. In Millers Crossing, every character appears to have a gun of some sort, which shows how they want to feel more powerful, protected and manly. In our thriller, the gun (shown in the exchange) is the main icon that we needed to suggest that there would be some kind of violence and confrontation. The issue of young adults getting involved with this kind of lifestyle is also shown more realistically in Kidulthood.
The editing in our thriller introduction was fast- paced with the use of shortened shots to make the film introduction hooking. Layer Cake has some very swift shots that merge rapidly together, an example is when the character “XXXX” is sitting in his armchair, having taken drugs and alcohol, and then the next shot of him with his balaclava on about to kill a man. By building tension, it helps engage the audience and keep their attention focused on the film.
The genre of music we used was electro-computer-generated and worked extremely well with our film. The soundtrack is quite similar to those in Layer Cake and Kidulthood, as it went from a slow tempo to a quicker tempo. The music was a crucial decision that we had to make and get right in order for the whole introduction to fit together. As the introduction draws to an end, the close up of the gun and the sudden black out is complimented by the music. The beat and rhythm of the soundtrack was successful in building tension and creating suspense.
The use of varied camera shots and techniques were based on the shots seen in other thrillers. One example is in Millers Crossing, where the two thugs walk up the stairs to their victim’s bedroom, guns at their side. We did a version of this for the older man. This was also to show how the characters differ from one another, in how they are dressed- casual and more professional.
Our thriller did not specifically challenge forms and conventions of real media products, we instead chose to use and expand on the thriller genre. Our knowledge of thrillers was built up around looking and analysing other thrillers.
How does your media product represent particular social groups?
The gender of the characters in our thriller was all male. The ages were different, ranging from 17-18 year old males, and an older male around 30. The younger males were the thug gangsters who plotted to invade the older male’s house. The older male was a classy gangster, in that he had a good job making reasonable money and had a big house. The younger males’ class was low and quite poor. This is shown how they had to resort to committing a crime in a nicer area than from their council estate homes. The race of the cast was mainly white, except the character Jitmal (gang member) whom is mixed race.
In our thriller, we did not represent women, which could be sexist in some views. The idea was women not getting involved with this kind of lifestyle. The men may be represented as: violent, scheming, desperate criminals, who think they are above the law. We wanted the men to appear as though they wanted power and control, as they did not have with their finances. The use of guns shows how they will do anything, maybe to make themselves look threatening to others. One member evaluating our thriller in fact noticed how there were no females cast (Why weren’t there any ladies?).
Our thriller does not have one main villain or hero as both our main characters do not fit into these roles. Nevertheless, Simon and the older man could both have villain characteristics, for instance, they both appear violent as they are holding guns. The victim role could also be either, as Simon is being made to invade the house through peer pressure. The older man is perhaps more of the victim as his house is being broken into.
What kind of media institution might distribute your media product and why?
The distribution that would probably be the most willing to distribute our film may be Working Title films, as our thriller is not independent and is more main stream. Working Title has distributed many mainstream films, such as "Bridget Jones's Diary" due to their convergence with Universal Studios.
The two examples that were mostly influential to us were Kidulthood, Adulthood and Layer Cake. Kidulthood was distributed by Revolver Entertainment, who have mainly distributed thriller productions which include crime thrillers and French noir thrillers and has several best selling and award-winning films. Layer Cake was distributed by Sony Pictures Classics, a separation of Sony. P. Entertainment which obtains finances and distributes independent films from the USA.Our thriller is more main stream so it would more likely be exhibited through a multiplex outlet such as Odeon or Vue.
Who would be audience for your media product?
The audience for our media product is made up of ages between 16- 22, whom include students, C1 and C2 workers based on the demographics. The gender of our audience will consist of males as the cast of the film is completely males. This could have an affect on the overall audience as many females may not enjoy it. On the other hand, we researched television shows that the audience may watch for entertainment, examples include: CSI, where the demographic 'females under 18' had an overall 429 votes resulting with the highest average being 9.4. Males under 18 were close with: 486 votes making 8.9 the highest average. The second example, The Bill was reasonably interested the demographic 'females under 18' with 14 votes and the highest average of 9.0. This could be indicating that females may enjoy the programmes. Further more, the influential thrillers have contributed to the audience as we took into account what audiences viewed (and enjoyed) them.
How did you attract/address your audience?
The ways in which we attracted our audience were through four, useful factors. Firstly, the characters in the film were similar ages to our target audience. The age range was between 16- 22 year olds so by choosing actors around this age it probably made them able to relate to the characters. For one, clothing and sense of style would contribute to how the audience will relate to the characters. The main young character, Simon is the narrator, as in we see what happens in his eyes, so the audience will relate to him, as we see how he does and copes with his actions.
The setting and location, along with the mise-en-scene may be able to relate to the characters too, if they live in a similar area to that in the film.
Further more, the narrative explores how gangs and friends can be loyal to one another, despite their differences. This could add to the chances of the audience being able to relate.
Our group thought we did hook the audience as it had a mysterious and intriguing narrative and plot. The gun shot at the end was the climax at the end, that we achieved by using a gun shot sound, with the black out, to leave the introduction as a cliff hanger.
What have you learnt about technologies from the process of constructing this product?
One of the main processes of constructing our thriller was the camera work, whilst filming. We developed an understanding of how to use equipment as we were not that experienced at the start of the project. This includes how to use tripods, and the camera. We learnt how to shoot footage, using camera techniques that we had briefly practiced beforehand.
The camera techniques include how to use shots, movements and so on for specific effects. For example, we used a number of mid shots to show the body language, the characters position, expressions and the actions they are doing, for instance when Simon breaks into the kitchen window.
The editing process was the most difficult to complete as we were not acquainted of the software (Adobe Premiere Elements). Despite this, we soon became aware of how to use the software and most importantly how to use the effects to make our thriller polished.
During the process, we developed an insight to how you have to cut the captured footage to go in a readable narrative. The majority of the audience found our narrative understandable and easy to follow. The most challenging aspect of the editing process was to get the whole clip to be on a certain time limit. We had to in fact cut a whole piece of filming in order for it to be closer to the two minute limit.
Looking back at your preliminary task, what do you feel you have learnt in the progression from it to the full product?
To start the project, we had to organize methods of planning our thriller production. We did have lack of communication to begin with but as we got into the project more, this did improve. The planning consisted of thinking of initial ideas for what our thrillers plot could be. Once we had a basic idea that we liked, we created storyboards that helped to suggest shots, movements, mise-en-scene, and so forth for the introduction. This was relatively similar to the process of the preliminary task but was more detailed and thorough. We also had to think about the casting and the simplest way to designate roles was to ask people we knew.
The filming process was difficult in aspects of how we had to make extra time to do the filming. There were many occasions when we had to leave the filming to the next day or another time, therefore delaying the production.
The preliminary task helped us get familiar with how to use the editing software, for example, cutting and rendering it. Whilst we edited our thriller, it was important to make the narrative as readable as possible, by sequencing the shots. Therefore helping the audience understand and engage with the film.
We did have to shorten the piece of music as it was too long. We also cut and moved a specific part of the soundtrack for the climax at the end making the audience hooked and want to continue watching the rest.
The next process was how to export the product as an avi. file to Windows Media and then online to YouTube. This was a less challenging thing to do and we were pleased when the final product was on.
Overall, I have learnt an incredible amount about all the processes which you complete to create a film. The roles in which I most played a part in were the planning and editing processes. In the filming process I helped with making sure the set was appropriate, for instance, the lighting in the hallway. We had to decide on the filming process, who was steadiest with the camera and this was my partner Roxxy. My other partner played two of the characters in the film which meant that he was important in the casting. We all learnt how to overcome problems by working as a team.
Tuesday, 17 February 2009
Editing Process
The editing process begun with uploading the film to our set computer; then using Adobe Premiere Elements software to begin edited. We firstly cut out all the parts that were not needed and were mistakes that had occured during the filming process, such as the actors laughing. This then left us with 1 or 2 best versions of each shot that we intended to use. We decided which version to use throughout all of them, and started to piece it all together, getting it in the suitable order. Some of the shots corresponded to our original story boards, such as the one of the men's legs and shoes.
Having tidied and ordered the film, we started to create and add titles. We had initially wanted to make the titles have a transition that made them appear to be gradually typed in, showing the names of the actors and then finally the name of the film. The names were: Ben Jones, Mark Wright- Premachandra and Jakob Montagu- Shaw, . However, without wasting time this wasn't possible as we didn't know how to do that effect. Despite this set-back, we did find a similar look which was a font transition called "curtain" which allowed the font to gradually come in and then out of the shot. It was close enough and still looked attractive. The style of the font was "Courier new" bold as it looked quite flat without. I had the idea of the font looking like a type-writer style, that is associated with police and crime themes. The end title was also the same but a larger size, with no transition and more centred, therefore making it more eye-catching and noticeable. Whilst the last title is shown, there is a sound clip of a gun shot, which creates mystery and intrigue as the audience is not shown who shoots who, consequently making it a cliff hanger.
Whilst editing, rendering and uploading our film to youtube, we didnt know Jakob's candidate number, which resulted in us leaving it as "0000". Once we have put our thriller on our blogs, we shall add his candidate number.
The first final version of our thriller that we uploaded to youtube was too long, to be precise it was 3mins 44 seconds, despite this, we had started to distribute our thriller in order to get ahead with the evaluation points that some of the youtube comments could be used for. This was an effective way to get some user comments as they are easily available. Having been told that we couldnt leave it that long we shortened it to 2 mins 6secs, which was a difficult process. We had to cut one large chunk of filming, which was when the two men met the night before to show Simon which house it was. We felt that this clip wasn't that important so we cut all of it out. Another thing we did overall was to shorten the shots taken and sped up the slower shots. This was an excellent and successful achievement as the film looked a lot better, because of the quicker pace. The effect of this would make the auidence be more focused and keep their attention throughout the introduction.
In the editing process we did encounter some more problems, inparticular our computer froze many times, making us lose some of our unsaved changes. One of these times was when we had infact 1 more second to lose (to make it the correct amount of time), when the computer froze. As we had not saved our progress over the last two minutes or so, we had to lose 9 seconds again. The software had luckily auto saved so the amount of seconds we had to lose was not as bad as it could have been.
After we had completely finished editing, we uploaded the new and improved version onto youtube, where we found the gunshot had not been included. However, apparently this doesn't matter as the examiners will receive our film on a disk, from the avi file we have saved onto the computer, which has the gunshot at the end.
Having tidied and ordered the film, we started to create and add titles. We had initially wanted to make the titles have a transition that made them appear to be gradually typed in, showing the names of the actors and then finally the name of the film. The names were: Ben Jones, Mark Wright- Premachandra and Jakob Montagu- Shaw, . However, without wasting time this wasn't possible as we didn't know how to do that effect. Despite this set-back, we did find a similar look which was a font transition called "curtain" which allowed the font to gradually come in and then out of the shot. It was close enough and still looked attractive. The style of the font was "Courier new" bold as it looked quite flat without. I had the idea of the font looking like a type-writer style, that is associated with police and crime themes. The end title was also the same but a larger size, with no transition and more centred, therefore making it more eye-catching and noticeable. Whilst the last title is shown, there is a sound clip of a gun shot, which creates mystery and intrigue as the audience is not shown who shoots who, consequently making it a cliff hanger.
Whilst editing, rendering and uploading our film to youtube, we didnt know Jakob's candidate number, which resulted in us leaving it as "0000". Once we have put our thriller on our blogs, we shall add his candidate number.
The first final version of our thriller that we uploaded to youtube was too long, to be precise it was 3mins 44 seconds, despite this, we had started to distribute our thriller in order to get ahead with the evaluation points that some of the youtube comments could be used for. This was an effective way to get some user comments as they are easily available. Having been told that we couldnt leave it that long we shortened it to 2 mins 6secs, which was a difficult process. We had to cut one large chunk of filming, which was when the two men met the night before to show Simon which house it was. We felt that this clip wasn't that important so we cut all of it out. Another thing we did overall was to shorten the shots taken and sped up the slower shots. This was an excellent and successful achievement as the film looked a lot better, because of the quicker pace. The effect of this would make the auidence be more focused and keep their attention throughout the introduction.
In the editing process we did encounter some more problems, inparticular our computer froze many times, making us lose some of our unsaved changes. One of these times was when we had infact 1 more second to lose (to make it the correct amount of time), when the computer froze. As we had not saved our progress over the last two minutes or so, we had to lose 9 seconds again. The software had luckily auto saved so the amount of seconds we had to lose was not as bad as it could have been.
After we had completely finished editing, we uploaded the new and improved version onto youtube, where we found the gunshot had not been included. However, apparently this doesn't matter as the examiners will receive our film on a disk, from the avi file we have saved onto the computer, which has the gunshot at the end.
Thursday, 12 February 2009
Friday, 6 February 2009
The Bill Extract Analysis
The extract that we studied can be on an article I found on the official The Bill website: http://www.thebill.com/productionnews/articledetail/item_100008.htm. It describes the narrative in a very detailed manner. 
The Bill has been broadcasted on British television for many years now, it follows the Sun Hill police force in Canley, London. It was first broadcast on 16 October 1984 on ITV, at 8pm on weekly Wednesdays and Thursdays. The Bill is named after a slang term for the police. It was created by Geoff McQueen and was produced by Talkback Thames and its distributor was FremantleMedia Enterprises. The Bill is a Police/Crime drama series and gives its audience an insight to what the police have to deal and work with, along with what they do to solve crimes, from petty crimes to violent and dangerous crimes.
The extract opens to a scene beginning with a high angled shot viewing down on a rundown urban area with a pub on a street corner. The pub is a pastel yellow colour that helps to brighten its surroundings but is unsuccessful as it looks cheap and dingy. By the pub is an alley way, that we see a police car drive towards and through. The shot is then brought down to a mid shot, about eye level, to show a man and woman, DC Mickey Webb DC Jo Masters have just drove through the alley and bridge. The camera shot then changes to a long shot at a lower angle so we see the DC's walk towards the camera which then moves to a point of view shot. In this shot, there is a dead girl slumped against a metal fence at the beginning of another endless- looking alleyway. Eddie a CSE is crouching beside the body, where we see the DC Webb and Masters join to get updated on what Eddie has found. The camera shot then goes into an extreme close up of the girl's right arm where it looks like she has had an heroin overdose, which is explained by Eddie. These extreme close up then shows the butterfly tattoo on the same arm. Eddie then pulls away the collar of the girl's denim jacket to reveal a silver necklace with the letter "K". This therefore gives them some ideas which they can use to find out her identity. The shot is then at a lower angle, as thought the DC's are looking down at her and almost like we are looking through the girl's eyes. A point of view shot is then used which seems to be related to DC Masters as she then suggests that she recognizes the girl. As the DC's walk away, the shot is still at a low angle which shows how DC Master is still contemplating that she knows the girl, as we see her cast a confused glance. The audience then sees another POV shot which reinforces this idea as we see what she is looking at.
The narrative perspective is then cast over to two police constables (PC), a young man and woman who are questioning a witness; who happens to be the pub owner. We are shown the dark alleyway from an angle over both the police officers shoulders. The camera moves in a panning movement which shows the PCs faces and the pub owner. This could have been used as they are in the rest of the episode. There is a small bridge overhead which helps create a bleak location as there is not much direct light. The only colour seems to be coming from the police officers fluorescent yellow uniforms. In the background, the audience can hear diegetic noises in particular, police sirens. This makes the scene appear more realistic and more like an actual real life investigation is taking place. As the questioning continues DC Masters comes into the shot, where she talks to one of the PC for information, whilst keeping their backs to the pub owner.
The next shot is in the police offices, where a two person shot and close up shot are used. The two person shot shows the DC's looking through files as DC Masters goes with her instincts. The two shot could be used to show that they are colleagues, who work close and well together. They joke around when a possible victims photograph is shown as an extreme close up to the audience, reminding us that not all police work has to be serious. Consequently, DC Masters finds the girl's- "Kelly's" file she was looking for with the photograph looking similar to the girl on the investigation scene. Therefore, explaining for the letter "K" on her necklace.
Following the extract, the DC's walk around through the police station, past offices, which is shown through the tracking shot. The movement also seems to be mostly handheld which makes the characters seems rushed. Further, it could be to make us seem like we are there, joining/listening their conversation and walking with them. A mid shot through an office with slattered blinds is used, to suggest they are walking through the corridors of the police station. The camera switches from being in front, from inside the office to behind the characters. An example of when the camera is in front of the characters is when they are coming up the second flight of stairs. The viewer continues to follow the characters, being made to feel like one of them. The attention of the viewer is then increased as the character stop to discuss plans and procedures.
The next scene is then shown through a quick shot of a low angled shot of a skyscraper making us think that the police force has moved further into an urban city area. Diegetic noises are again used to give the sense of the location being nearer the city centre, as car horns are made. The shot then follows the PCs to an unknown woman sitting on some green, plastic crates, near a telephone box, near the side of a road. The shot looks to be a point of view shot as the woman explains (in a distressed manner) what and who she's waiting for. The reason why we are shown the PCs walk past a telephone box is then justified as the mother points out that Kelly rang her from there the night before.
It is then clear to both the PCs and audience that she is ''Kelly's'' mother. This is proved correct as she shows a photograph of an innocent and happy-looking young girl to the PCs as the audience is also shown it through an extreme close up shot. The PCs ask her daughters name, she replies "Kelly", where a mid shot shows the glance shared between the PCs, as this confirms that she is Kelly's mother. The low angle used whilst she talks makes her have more importance, possibly connoting that what she tells the PCs is vital and important information.
Towards to end of the extract, we are taken into an office in the police station. Further diegetic sounds are used, seeming to be ringing telephones and other technologies. The office has blue coloured walls which make it look cold, perhaps implying that the place is quite cold- due to the unpleasant crimes committed. There are grey-white blinds which are extremely common in offices as they allow means of privacy, which leads to the waiting room scene. The waiting room is relatively colourful, with the yellow walls, but the dull and plain furniture reminds you that you are not in the most welcoming of places. There is an over the shoulder shot as the mother is told about Kelly's death, directing the focus on Kelly's mothers face, as the other two characters are not shown, only DC Masters shoulder.
The representational issues put across in The Bill are based around the police forces colleagues and how the public is portrayed in the way they behave in different situations. For example, the females on the police force seems to be all good-looking and maybe too glamorous for the roles. The women seem to be just as dominant and capable at their jobs as the men on the force, as they joke around, which could viewed as cynical, as in the past, it would have been the opposite due to sexism.
The police force appear to be generally organized, which could be shown through the powerpoint presentation they have during the extract. The fact that DC Master recognizes "Kelly" suggests that some offenders make their mark on the police force. This is shown in fact a number of times, where many and different police officers seem to like the offenders because they have good personalities or have had similar experiences in their life. Everyone seems to have flaws so it is likely that police forces do too, for one, they would not solve every single crime, which makes them vulnerable.
Lastly, there are many youth issues shown through The Bill as there are many cases involving teenage and young adult showing interests in prostitution and drugs. The youth are shown as untrustworthy too as they do not usually tell the police force the truth, unless pressed and/or encouraged. In the episode I viewed, DC Masters splits from DC Webb to ask a young girl who claims to be 16 years old, but is obviously younger. The young girl tries to leave the room but Masters is quicker and guards the door. The shot is at quite a high angle resulting in us looking down upon her. The audience for that reason sympathises for her as this position she is enclosed in is quite threatening and she has no escape. The idea of her trying to get away from her life before is then created as she is having to try to escape once again.
The Bill has been broadcasted on British television for many years now, it follows the Sun Hill police force in Canley, London. It was first broadcast on 16 October 1984 on ITV, at 8pm on weekly Wednesdays and Thursdays. The Bill is named after a slang term for the police. It was created by Geoff McQueen and was produced by Talkback Thames and its distributor was FremantleMedia Enterprises. The Bill is a Police/Crime drama series and gives its audience an insight to what the police have to deal and work with, along with what they do to solve crimes, from petty crimes to violent and dangerous crimes.
The extract opens to a scene beginning with a high angled shot viewing down on a rundown urban area with a pub on a street corner. The pub is a pastel yellow colour that helps to brighten its surroundings but is unsuccessful as it looks cheap and dingy. By the pub is an alley way, that we see a police car drive towards and through. The shot is then brought down to a mid shot, about eye level, to show a man and woman, DC Mickey Webb DC Jo Masters have just drove through the alley and bridge. The camera shot then changes to a long shot at a lower angle so we see the DC's walk towards the camera which then moves to a point of view shot. In this shot, there is a dead girl slumped against a metal fence at the beginning of another endless- looking alleyway. Eddie a CSE is crouching beside the body, where we see the DC Webb and Masters join to get updated on what Eddie has found. The camera shot then goes into an extreme close up of the girl's right arm where it looks like she has had an heroin overdose, which is explained by Eddie. These extreme close up then shows the butterfly tattoo on the same arm. Eddie then pulls away the collar of the girl's denim jacket to reveal a silver necklace with the letter "K". This therefore gives them some ideas which they can use to find out her identity. The shot is then at a lower angle, as thought the DC's are looking down at her and almost like we are looking through the girl's eyes. A point of view shot is then used which seems to be related to DC Masters as she then suggests that she recognizes the girl. As the DC's walk away, the shot is still at a low angle which shows how DC Master is still contemplating that she knows the girl, as we see her cast a confused glance. The audience then sees another POV shot which reinforces this idea as we see what she is looking at.
The narrative perspective is then cast over to two police constables (PC), a young man and woman who are questioning a witness; who happens to be the pub owner. We are shown the dark alleyway from an angle over both the police officers shoulders. The camera moves in a panning movement which shows the PCs faces and the pub owner. This could have been used as they are in the rest of the episode. There is a small bridge overhead which helps create a bleak location as there is not much direct light. The only colour seems to be coming from the police officers fluorescent yellow uniforms. In the background, the audience can hear diegetic noises in particular, police sirens. This makes the scene appear more realistic and more like an actual real life investigation is taking place. As the questioning continues DC Masters comes into the shot, where she talks to one of the PC for information, whilst keeping their backs to the pub owner.
The next shot is in the police offices, where a two person shot and close up shot are used. The two person shot shows the DC's looking through files as DC Masters goes with her instincts. The two shot could be used to show that they are colleagues, who work close and well together. They joke around when a possible victims photograph is shown as an extreme close up to the audience, reminding us that not all police work has to be serious. Consequently, DC Masters finds the girl's- "Kelly's" file she was looking for with the photograph looking similar to the girl on the investigation scene. Therefore, explaining for the letter "K" on her necklace.
Following the extract, the DC's walk around through the police station, past offices, which is shown through the tracking shot. The movement also seems to be mostly handheld which makes the characters seems rushed. Further, it could be to make us seem like we are there, joining/listening their conversation and walking with them. A mid shot through an office with slattered blinds is used, to suggest they are walking through the corridors of the police station. The camera switches from being in front, from inside the office to behind the characters. An example of when the camera is in front of the characters is when they are coming up the second flight of stairs. The viewer continues to follow the characters, being made to feel like one of them. The attention of the viewer is then increased as the character stop to discuss plans and procedures.
The next scene is then shown through a quick shot of a low angled shot of a skyscraper making us think that the police force has moved further into an urban city area. Diegetic noises are again used to give the sense of the location being nearer the city centre, as car horns are made. The shot then follows the PCs to an unknown woman sitting on some green, plastic crates, near a telephone box, near the side of a road. The shot looks to be a point of view shot as the woman explains (in a distressed manner) what and who she's waiting for. The reason why we are shown the PCs walk past a telephone box is then justified as the mother points out that Kelly rang her from there the night before.
It is then clear to both the PCs and audience that she is ''Kelly's'' mother. This is proved correct as she shows a photograph of an innocent and happy-looking young girl to the PCs as the audience is also shown it through an extreme close up shot. The PCs ask her daughters name, she replies "Kelly", where a mid shot shows the glance shared between the PCs, as this confirms that she is Kelly's mother. The low angle used whilst she talks makes her have more importance, possibly connoting that what she tells the PCs is vital and important information.
Towards to end of the extract, we are taken into an office in the police station. Further diegetic sounds are used, seeming to be ringing telephones and other technologies. The office has blue coloured walls which make it look cold, perhaps implying that the place is quite cold- due to the unpleasant crimes committed. There are grey-white blinds which are extremely common in offices as they allow means of privacy, which leads to the waiting room scene. The waiting room is relatively colourful, with the yellow walls, but the dull and plain furniture reminds you that you are not in the most welcoming of places. There is an over the shoulder shot as the mother is told about Kelly's death, directing the focus on Kelly's mothers face, as the other two characters are not shown, only DC Masters shoulder.
The representational issues put across in The Bill are based around the police forces colleagues and how the public is portrayed in the way they behave in different situations. For example, the females on the police force seems to be all good-looking and maybe too glamorous for the roles. The women seem to be just as dominant and capable at their jobs as the men on the force, as they joke around, which could viewed as cynical, as in the past, it would have been the opposite due to sexism.
The police force appear to be generally organized, which could be shown through the powerpoint presentation they have during the extract. The fact that DC Master recognizes "Kelly" suggests that some offenders make their mark on the police force. This is shown in fact a number of times, where many and different police officers seem to like the offenders because they have good personalities or have had similar experiences in their life. Everyone seems to have flaws so it is likely that police forces do too, for one, they would not solve every single crime, which makes them vulnerable.
Lastly, there are many youth issues shown through The Bill as there are many cases involving teenage and young adult showing interests in prostitution and drugs. The youth are shown as untrustworthy too as they do not usually tell the police force the truth, unless pressed and/or encouraged. In the episode I viewed, DC Masters splits from DC Webb to ask a young girl who claims to be 16 years old, but is obviously younger. The young girl tries to leave the room but Masters is quicker and guards the door. The shot is at quite a high angle resulting in us looking down upon her. The audience for that reason sympathises for her as this position she is enclosed in is quite threatening and she has no escape. The idea of her trying to get away from her life before is then created as she is having to try to escape once again.
Life On Mars Extract Analysis
Life on Mars is a BAFTA and Emmy-winning British science fiction and police drama television series. It was first broadcast on BBC One between January 2006 and April 2007.
The programme tells the story of DCI Sam Tyler of the Greater Manchester Police (played by John Simm), who, after being hit by a car in 2006, finds himself in the year 1973. There, he works for Manchester and Salford Police CID as a DI under DCI Gene Hunt (played by Philip Glenister). Over the course of the series, Tyler faces various culture clashes, most frequently regarding the differences between his modern approach to policing and the more traditional methods of his colleagues. Mixing the genres of science fiction and police procedural, the series centres on the ambiguity concerning Tyler's predicament: it is unclear whether he is insane, in a coma, or if he really has travelled back in time.
(Found from: http://en.wikipedia.org/wiki/Life_on_Mars_(TV_series).
The scene begins with a close up of clothes hanging on a washing line in a street. This suggests that the area is quite a poor area. It could also connote the area’s people are a close community and trust one another. From this long shot, we gently zoom closer onto the road- making it a mid shot, where a man carrying the table crosses the road. The shot moves in a tracking movement, travelling forward whilst DCI Hunt drives his car into the shot at a low angle. The car comes to a sudden halt on the edge of the path, carelessly knocking over a metal rubbish bin. This connotes how DCI Hunt does not care for the environment or its residents. There is non-diegetic music played which matches the tough attitude of Hunt. Hunt slams the door once getting out, whilst Tyler is gentler and politely opens the Irish man’s door once also out.
The location is shown through a mid shot, at a low angle, which gives the audience an idea of the setting. The ideas seem to be made up of the area being compact and small. The terrace houses are quite sweet but grim. The shot goes up to an eye level height and a close up is used of the Irish man’s bruises and wounds, that suggest that he has been beaten up.
Whilst the men talk, DCI Hunt apologizes but only after Tyler has forced him to, and this is shown as he says it in an insincere tone. The Irish man tries to make Hunt sympathise for both himself and his fellow Irish people. The camera shots allow the Irish guy to have some importance as it is slightly at a low angle. This gives him look more important and confidence as he is very aggravated. The Irish man gestures to the houses and the audience will notice (if not already) that two men are on the other side of the road. This suggests they are his friends- standing close by him but at a distance. The mid shot continues but also a shot reverse shot is used to make the conversation/argument flow more at ease. The body language of Hunt seems defensive, with his arms crossed and leaning against his car, and as though he does not want to give in. It also appears that he does not have the time to waste as he rarely looks at the Irish man at first.
Hunt’s arrogance is extremely noticeable which makes him seems higher in status – which is true as he is on the police office, whilst the Irish man has to work in low-wage jobs.
The next scene is shot in a pub, where the Police members are regulars. The shot is a mid shot so we see Tyler enter the pub in a very bold way, and he pauses in the doorway. This is emphasized by the bleached- out light, the amount of cigarettes people in the pub have smoked is apparent as the remainder of smoke surrounds the room, making it look dim and misty. He is also made to look like he is a hero- on his high horse after solving the crime. However, we feel like he is slightly uncomfortable because his face expression does not look like he is confident. His colleagues clap and the rest of the pub join to congratulate his success. This shows that the word got around quickly –as a lot of the people seem to know what happened.
The mise-en-scene the pub is quite dull, with creamy- yellow walls, dark brown wooden furniture and a simple bar. As Tyler sits down with his colleagues, they joke around, funnily about the possible future president being a woman. There is an extreme close up to emphasize how much Tyler puts in the money “kitty” (that has been collecting money for DS Ray Carling’s recovery fund) and how generous he is. The shots then return to being at eye level which makes the audience feel like we are one of them- but not quite, as over the shoulder shots are used. The shot then changes to an extreme close up of the drink glasses as they all say “Cheers!”. Diegetic music is used as the landlord puts on a song- we see through his perspective as his hand puts it in through a close up shot. A shot is cast in front of Tyler then shallow focus is used when a bright-red telephone begins to ring. It catches Tyler’s attention, making him turn, the audience also view it through a POV shot. Shot reverse shot is used which helps to build up confusion and create questions by the audience like: “Why has he only noticed it?” and whether or not it is going to be for him or not. The red phone could connote danger as the colour red is associated with that idea. Tyler goes to pick the phone up to end his ever- building curiosity. The shot tracks him so we follow his movement. Once he picks the phone up, the mid shot changes to a close up of his face. The audience hear the voice on the other receiver so we are let in on what they talk about. A diegetic noise is used, a heartbeat. This is an interesting noise to use as it could connote that Tyler’s heartbeat although it was relatively smooth. It also reminds us of his state being in a coma, which confuses him more, as we are not sure whether it is all a crazy dream or not. A heartbeat noise if commonly used to create the idea of a hospital which fits – as it seems to be a doctor talking to Tyler. The conversation between Tyler is short- lived as he is hung up on.
When Tyler returns to the table that his colleagues are crowded around, Hunt tries to take some of the glory by saying about his influence on Tyler’s solving skills. This seems to show Hunt is constantly arrogant and how his ego gets in the way much of the time.
Representational aspects in Life on Mars seem to be that the episodes are a combination of having serious and sophisticated jokes, which add to the programme being comedic. The lack of technology means that sometimes there were some irrational and not completely true convictions. This could be supported by how Tyler stops Hunt from making wrong assumptions about the Irish man being the criminal. The episodes follow a male protagonist which could result in the programme being more identifiable with a larger audience, as he is a middle- aged English man.
Representational issues are shown to be mainly, racism. DCI Hunt is extremely racist, which shocks Tyler as he has come from nearer the present day. For instance, Hunt is racist about the Indian couple and the woman’s clothes and is more violently racist towards the Irish man. It is stereotypical racism as many pubs, such as the one in the extract, were bombed and destroyed by Irish bombers.
Furthermore, sexism is apparent also, as the women in Life on Mars work in offices, as receptionists for example. An exception is that Cartright, a WPC does join in with the other male leads. The Police Force in the 1970’s was not balanced, gender wise, as there is more dominance from the male leads.
The programme tells the story of DCI Sam Tyler of the Greater Manchester Police (played by John Simm), who, after being hit by a car in 2006, finds himself in the year 1973. There, he works for Manchester and Salford Police CID as a DI under DCI Gene Hunt (played by Philip Glenister). Over the course of the series, Tyler faces various culture clashes, most frequently regarding the differences between his modern approach to policing and the more traditional methods of his colleagues. Mixing the genres of science fiction and police procedural, the series centres on the ambiguity concerning Tyler's predicament: it is unclear whether he is insane, in a coma, or if he really has travelled back in time.
(Found from: http://en.wikipedia.org/wiki/Life_on_Mars_(TV_series).
The scene begins with a close up of clothes hanging on a washing line in a street. This suggests that the area is quite a poor area. It could also connote the area’s people are a close community and trust one another. From this long shot, we gently zoom closer onto the road- making it a mid shot, where a man carrying the table crosses the road. The shot moves in a tracking movement, travelling forward whilst DCI Hunt drives his car into the shot at a low angle. The car comes to a sudden halt on the edge of the path, carelessly knocking over a metal rubbish bin. This connotes how DCI Hunt does not care for the environment or its residents. There is non-diegetic music played which matches the tough attitude of Hunt. Hunt slams the door once getting out, whilst Tyler is gentler and politely opens the Irish man’s door once also out.
The location is shown through a mid shot, at a low angle, which gives the audience an idea of the setting. The ideas seem to be made up of the area being compact and small. The terrace houses are quite sweet but grim. The shot goes up to an eye level height and a close up is used of the Irish man’s bruises and wounds, that suggest that he has been beaten up.
Whilst the men talk, DCI Hunt apologizes but only after Tyler has forced him to, and this is shown as he says it in an insincere tone. The Irish man tries to make Hunt sympathise for both himself and his fellow Irish people. The camera shots allow the Irish guy to have some importance as it is slightly at a low angle. This gives him look more important and confidence as he is very aggravated. The Irish man gestures to the houses and the audience will notice (if not already) that two men are on the other side of the road. This suggests they are his friends- standing close by him but at a distance. The mid shot continues but also a shot reverse shot is used to make the conversation/argument flow more at ease. The body language of Hunt seems defensive, with his arms crossed and leaning against his car, and as though he does not want to give in. It also appears that he does not have the time to waste as he rarely looks at the Irish man at first.
Hunt’s arrogance is extremely noticeable which makes him seems higher in status – which is true as he is on the police office, whilst the Irish man has to work in low-wage jobs.
The next scene is shot in a pub, where the Police members are regulars. The shot is a mid shot so we see Tyler enter the pub in a very bold way, and he pauses in the doorway. This is emphasized by the bleached- out light, the amount of cigarettes people in the pub have smoked is apparent as the remainder of smoke surrounds the room, making it look dim and misty. He is also made to look like he is a hero- on his high horse after solving the crime. However, we feel like he is slightly uncomfortable because his face expression does not look like he is confident. His colleagues clap and the rest of the pub join to congratulate his success. This shows that the word got around quickly –as a lot of the people seem to know what happened.
The mise-en-scene the pub is quite dull, with creamy- yellow walls, dark brown wooden furniture and a simple bar. As Tyler sits down with his colleagues, they joke around, funnily about the possible future president being a woman. There is an extreme close up to emphasize how much Tyler puts in the money “kitty” (that has been collecting money for DS Ray Carling’s recovery fund) and how generous he is. The shots then return to being at eye level which makes the audience feel like we are one of them- but not quite, as over the shoulder shots are used. The shot then changes to an extreme close up of the drink glasses as they all say “Cheers!”. Diegetic music is used as the landlord puts on a song- we see through his perspective as his hand puts it in through a close up shot. A shot is cast in front of Tyler then shallow focus is used when a bright-red telephone begins to ring. It catches Tyler’s attention, making him turn, the audience also view it through a POV shot. Shot reverse shot is used which helps to build up confusion and create questions by the audience like: “Why has he only noticed it?” and whether or not it is going to be for him or not. The red phone could connote danger as the colour red is associated with that idea. Tyler goes to pick the phone up to end his ever- building curiosity. The shot tracks him so we follow his movement. Once he picks the phone up, the mid shot changes to a close up of his face. The audience hear the voice on the other receiver so we are let in on what they talk about. A diegetic noise is used, a heartbeat. This is an interesting noise to use as it could connote that Tyler’s heartbeat although it was relatively smooth. It also reminds us of his state being in a coma, which confuses him more, as we are not sure whether it is all a crazy dream or not. A heartbeat noise if commonly used to create the idea of a hospital which fits – as it seems to be a doctor talking to Tyler. The conversation between Tyler is short- lived as he is hung up on.
When Tyler returns to the table that his colleagues are crowded around, Hunt tries to take some of the glory by saying about his influence on Tyler’s solving skills. This seems to show Hunt is constantly arrogant and how his ego gets in the way much of the time.
Representational aspects in Life on Mars seem to be that the episodes are a combination of having serious and sophisticated jokes, which add to the programme being comedic. The lack of technology means that sometimes there were some irrational and not completely true convictions. This could be supported by how Tyler stops Hunt from making wrong assumptions about the Irish man being the criminal. The episodes follow a male protagonist which could result in the programme being more identifiable with a larger audience, as he is a middle- aged English man.
Representational issues are shown to be mainly, racism. DCI Hunt is extremely racist, which shocks Tyler as he has come from nearer the present day. For instance, Hunt is racist about the Indian couple and the woman’s clothes and is more violently racist towards the Irish man. It is stereotypical racism as many pubs, such as the one in the extract, were bombed and destroyed by Irish bombers.
Furthermore, sexism is apparent also, as the women in Life on Mars work in offices, as receptionists for example. An exception is that Cartright, a WPC does join in with the other male leads. The Police Force in the 1970’s was not balanced, gender wise, as there is more dominance from the male leads.
Police/Crime Series
Our introduction to Police/crime series begun with us listing examples of police/crime dramas. My list consisted of the following: "The Bill", "Life on Mars", "CSI", "Ashes to Ashes", "Numb3rs", "Jonathon Creek", "Agatha Christie's" "Poirot" and "Miss Marple", "Midsomer Murders", "Prime Suspect" and "Diagnosis Murder".
There are a number of things that are representational for police/crime dramas. Firstly, there is a lot of sexism issues which is shown (for example) in Life on Mars where most of the women were given receptionist and office jobs, in the police forces. Whilst the male characters were often the leads and officers who did the more of the solving. There has been a complete and perhaps drastic change due to the fact that women do work on police forces, in positions other than just office workers. This is shown in "The Bill" which is based on the police forces up to the present day.
Further along, other representation of police/crime dramas include: racism and murder. Racism has been an issue that has raised much controversy over many years. Crimes such as murder are easily used in police/crime dramas as the audience wants to know what goes on behind all the crime solving. Numerous murders can be made stereotypically to look like actual murders, as many directors will base the murders on real life murders. Whether or not the murder has been underestimated or exaggerated depends on the way it is shown to the audience. Therefore making it hard to judge if it is realistic or not. Another crime that is used in police/crime dramas is rape, which is commonly shown to be committed on young women victims.
Kidnapping and abduction are frequently based upon criminals creating ransoms to gain money. Even more, multiple petty crimes such as stealing and vandalism are used which suggest how young teenagers and adults are represented and seen by other people. One recent episode in "The Bill" was based around 17 years olds having a party, which got out of hand when some unexpected and unwanted people arrived. The episode unravelled with drugs being involved and relationships between friends and families being disrupted, resulting in a young boy's death. A more disturbing crime is paedophile crimes, which often create controversy over whether or not the public should be told about the case. It is difficult to say what the public wants as one, as many people would be upset and worried about the crime, but then others would surely want the concern to be put across so they are aware of the offender who has committed the crime.
Whilst viewing police/crime series, it is very intriguing as an audience as see how the police and crime forces deal and work to solve crimes.
The narrative can sometimes be predictable as in the audience can realise what will happen or solve the crime themselves. This is an effective way to capture an audiences' attention and keep them engaged as they would feel like they could do the job of the solvers. On the other hand, some narratives can be more difficult to work out, as the audience follows the detectives or whomever, they will most likely only see that perspective. The effect of this is to give the audience an insight to how that crime solver would work and solve the crime.
The mise-en-scene can depend on what time period the drama is set in. For instance, if a drama is set in the past, then the appearances will be very different from the present, modern day. The appearance of locations, characters (fashion and dress sense- i.e hair cuts) and props such as cars will be noticeably different. Subsequently helping the audience grasp what changes have been made over time (racial issues is an example) and could perhaps gain historical knowledge.
There are a number of things that are representational for police/crime dramas. Firstly, there is a lot of sexism issues which is shown (for example) in Life on Mars where most of the women were given receptionist and office jobs, in the police forces. Whilst the male characters were often the leads and officers who did the more of the solving. There has been a complete and perhaps drastic change due to the fact that women do work on police forces, in positions other than just office workers. This is shown in "The Bill" which is based on the police forces up to the present day.
Further along, other representation of police/crime dramas include: racism and murder. Racism has been an issue that has raised much controversy over many years. Crimes such as murder are easily used in police/crime dramas as the audience wants to know what goes on behind all the crime solving. Numerous murders can be made stereotypically to look like actual murders, as many directors will base the murders on real life murders. Whether or not the murder has been underestimated or exaggerated depends on the way it is shown to the audience. Therefore making it hard to judge if it is realistic or not. Another crime that is used in police/crime dramas is rape, which is commonly shown to be committed on young women victims.
Kidnapping and abduction are frequently based upon criminals creating ransoms to gain money. Even more, multiple petty crimes such as stealing and vandalism are used which suggest how young teenagers and adults are represented and seen by other people. One recent episode in "The Bill" was based around 17 years olds having a party, which got out of hand when some unexpected and unwanted people arrived. The episode unravelled with drugs being involved and relationships between friends and families being disrupted, resulting in a young boy's death. A more disturbing crime is paedophile crimes, which often create controversy over whether or not the public should be told about the case. It is difficult to say what the public wants as one, as many people would be upset and worried about the crime, but then others would surely want the concern to be put across so they are aware of the offender who has committed the crime.
Whilst viewing police/crime series, it is very intriguing as an audience as see how the police and crime forces deal and work to solve crimes.
The narrative can sometimes be predictable as in the audience can realise what will happen or solve the crime themselves. This is an effective way to capture an audiences' attention and keep them engaged as they would feel like they could do the job of the solvers. On the other hand, some narratives can be more difficult to work out, as the audience follows the detectives or whomever, they will most likely only see that perspective. The effect of this is to give the audience an insight to how that crime solver would work and solve the crime.
The mise-en-scene can depend on what time period the drama is set in. For instance, if a drama is set in the past, then the appearances will be very different from the present, modern day. The appearance of locations, characters (fashion and dress sense- i.e hair cuts) and props such as cars will be noticeably different. Subsequently helping the audience grasp what changes have been made over time (racial issues is an example) and could perhaps gain historical knowledge.
Monday, 26 January 2009
Thriller Poster Analysis
Thriller Poster Analysis
This poster is of the thriller "Vertigo" by Alfred Hitchcock. I have analysed the main points that are attracting the audiences attention and the possible meanings of the design.
Tuesday, 20 January 2009
Monday, 19 January 2009
Film Classification Activity 3.3
Have you watched films classified as 18 when you were below this age?
I have watched films that are classified 18 but only at home and round friends. I have never seen 18's at the cinema as one of the reasons is that I have never bothered trying to get in for an 18, as cinemas are usually very strict with age restrictions. Also, another reason is that a lot of 18's are violent, disturbing, upsetting, offensive and so on. For example, the film: This is England contains violence and racial offensive language which would upset people too young. Further more, many 18's are horrors which I am not keen on, just because how gruesome they are.
Does classification work for home viewing (DVD, TV broadcast, online, YouTube)?
It does depend on what you view the films on as certain ways have restrictions and limitations. One example is online sites, like YouTube have messages come up when a film is certificated as an 18. To watch the video, you have to sign up for an account but the problem with this is that people can easily fake their age so they can watch the video. This is very simple to do as you can put a different date depending on how old you need to be to view the video.
Another example is on TV, it is quite easy for viewers to watch a film that they shouldn't be allowed to see. Channels which broadcast films are Film Four and there are plenty of choice on Sky. There is an advantage however because, films that have higher certificates are commonly on at the 9 o'clock watershed and later, for instance on "Bad Lieutenant" is going to be on at 11.05 on 26th January as its an 18.
Can parents/guardians/supervising adults be trusted to monitor what children/youths are viewing? Should they have this responsibility?
Home viewing films is hard for parents to monitor as films are easily available to most home owners. If viewers do not have extra and digital channels then there are less films on, for instance, the normal channels are more along the lines of: BBC1, BBC2, ITV, Channel 4 and Five.
It is parents/guardians responsibility to monitor their child at a young age because the child is unlikely to know exactly what they are watching and probably wouldn't understand it. When i was younger, I remember wanting to watch things I couldn't because my parents didn't think the programmes were suitable. This is a restriction that can be useful when trying to stop children watching something they shouldn't. This does change as children grow up and become more mature, which thus makes their parents have more flexibility. My parents now let me watch films of my chose as it is usually for (education- English and Media studies) but then for entertainment too.
For this reason, it is difficult to say whether it is the parent's of a child's full responsibility but the question that has made me think is "Who else is going to take responsibility?". The Government?
We do have to trust parents monitoring what their children view because once they have access to films, there is nothing that we can really do. Locks on Sky and other restrictions may help rise the problem of under-age viewing but it more difficult once the viewer can access them to stop them. It is more about ones conscience- like whether a teenage can see whether or not that they shouldn't be watching a film that is an 18 when they are only 15. It may be the case, that they only watch their films with their parents or their parents insist on them watching the film with them so they can restrict them from seeing things. When I was about 14, I watched a film with my parents on TV and there was a murder taking place, my mother told me to look away, so I did. This is an example of how my parents helped me from seeing things that might have upset me.
Some parents are bound to think that their child will see upsetting and disturbing things in there life, but then as a child, they are more vulnerable and obviously too young to see these things happen. When is the age when they could possibly understand or take-in these things..?
Overall, parents do have to be trusted and do have a responsibility for what their child watches as there is none other restriction that children can have, to stop them from watching higher classified films.
I have watched films that are classified 18 but only at home and round friends. I have never seen 18's at the cinema as one of the reasons is that I have never bothered trying to get in for an 18, as cinemas are usually very strict with age restrictions. Also, another reason is that a lot of 18's are violent, disturbing, upsetting, offensive and so on. For example, the film: This is England contains violence and racial offensive language which would upset people too young. Further more, many 18's are horrors which I am not keen on, just because how gruesome they are.
Does classification work for home viewing (DVD, TV broadcast, online, YouTube)?
It does depend on what you view the films on as certain ways have restrictions and limitations. One example is online sites, like YouTube have messages come up when a film is certificated as an 18. To watch the video, you have to sign up for an account but the problem with this is that people can easily fake their age so they can watch the video. This is very simple to do as you can put a different date depending on how old you need to be to view the video.
Another example is on TV, it is quite easy for viewers to watch a film that they shouldn't be allowed to see. Channels which broadcast films are Film Four and there are plenty of choice on Sky. There is an advantage however because, films that have higher certificates are commonly on at the 9 o'clock watershed and later, for instance on "Bad Lieutenant" is going to be on at 11.05 on 26th January as its an 18.
Can parents/guardians/supervising adults be trusted to monitor what children/youths are viewing? Should they have this responsibility?
Home viewing films is hard for parents to monitor as films are easily available to most home owners. If viewers do not have extra and digital channels then there are less films on, for instance, the normal channels are more along the lines of: BBC1, BBC2, ITV, Channel 4 and Five.
It is parents/guardians responsibility to monitor their child at a young age because the child is unlikely to know exactly what they are watching and probably wouldn't understand it. When i was younger, I remember wanting to watch things I couldn't because my parents didn't think the programmes were suitable. This is a restriction that can be useful when trying to stop children watching something they shouldn't. This does change as children grow up and become more mature, which thus makes their parents have more flexibility. My parents now let me watch films of my chose as it is usually for (education- English and Media studies) but then for entertainment too.
For this reason, it is difficult to say whether it is the parent's of a child's full responsibility but the question that has made me think is "Who else is going to take responsibility?". The Government?
We do have to trust parents monitoring what their children view because once they have access to films, there is nothing that we can really do. Locks on Sky and other restrictions may help rise the problem of under-age viewing but it more difficult once the viewer can access them to stop them. It is more about ones conscience- like whether a teenage can see whether or not that they shouldn't be watching a film that is an 18 when they are only 15. It may be the case, that they only watch their films with their parents or their parents insist on them watching the film with them so they can restrict them from seeing things. When I was about 14, I watched a film with my parents on TV and there was a murder taking place, my mother told me to look away, so I did. This is an example of how my parents helped me from seeing things that might have upset me.
Some parents are bound to think that their child will see upsetting and disturbing things in there life, but then as a child, they are more vulnerable and obviously too young to see these things happen. When is the age when they could possibly understand or take-in these things..?
Overall, parents do have to be trusted and do have a responsibility for what their child watches as there is none other restriction that children can have, to stop them from watching higher classified films.
Essex Boys intro
Essex Boys was written by Jeff Pope and Terry Winsor whom also directed the film, 2000. The film is classified an 18 and is in the crime and thriller genre. I especially looked out for any thriller signifiers, how they were used and why the director chose to use certain things. The credits of Essex Boys were scratched lines whilst the film started and we were introduced to the first scene.
The first thriller signifiers that I noticed were chiaroscuro lighting which helped cast shadows and created mystery. The shot is of a garage which seems very claustrophobic and is a classic shot to use. The garage is very dim lit with only street lamps casting light into the garage and onto the car. The shot shows how the garage appears neglected and the car inside looks old and not used that much. There were also spider webs hanging down from the garage door and around the room. This gives it a gothic feel.
The young man in the shot appears to be the main character as he is the voice over and therefore we see the film in his perspective. The director could have done this because he would have wanted to show how the young man is getting into something dangerous; showing his innocent and naive understanding. The young man also seems to be doing it for the money despite not having any guilty conscience about what the boss is doing or plans to do.
The mise-en-scene makes the film seem obviously British because of the following. The recognizable British cockney accent was one of the most noticeable. There was a voice over, non- deigetic which helped the audience get an idea of who's perspective the narrative would be told in. Following the story, we find that we do not see what goes on with the boss unless the main character is taken along with them. At the start, he is the driver who takes them to places the boss wishes to go. I have seen many thrillers where there have been shots taken in a car, so you see different characters at the same time. It is a clever way to see what they discuss on the way to somewhere, what they are planning and so on. Another example of recognizable British mise-en-scene is the left side of the road in which the characters drive on. In foreign countries, drivers drive on the right side of the road.
The location of the film is in Essex and the mise-en-scene consists of thriller signifiers as there are wet streets, there is a shot taken through a tunnel, the location is urban city landscape which looks incredibly unglamorous. More locations in the film include a warehouse/factory building which is dull and bleak. Another location used, is a vast open beach. The men drive into nearer the city centre at night, which adds mystery and intrigue. The young man takes them to clubs, which have neon lights and typical clubbing appearances. There is young people around and going into the club- unaware of what the men are going to do. The music is non- diegetic which makes the film more realistic and it seems like we are there. As we are with the young man, we see how he waits for the men, quite anxious and cautious, as he looks around the road. The audience feel quite sorry for him as we know that it is going to end bad if he does not stop working for his boss. Even more, we see how nervous and worried his girlfriend is getting as he flaunts his mysterious money around in front of her. He ensures her that he will only do it for a little while longer but this does not reassure her.
The shots in the film look almost to be monochromatic as the shots are black and white, and a lot of the mise-en-scene is depressing and dreary. There are places where it looks increasingly miserable, the tunnel which they drive through, which could connote a barrel of a gun. There is also reflections cast on the windscreen from the ceiling of the tunnel, which look like bars of a prison cell. This could connote how the men may get caught and sent to jail for their actions. Furthermore, the tunnel is almost a spiral which is a common thriller signifier, the idea of the narrative being turned and played around with is created.
The music in Essex Boys that makes the most impact is the string music used. This created a menacing atmosphere and sounds perhaps sinister. It creates tension which could be linked to what the men are going to do.Thriller Prop List
Woolly Hat
The hat will help cover the characters face as we do not want them to be seen by the camera too much as they are breaking into a house. It will help cover some of the head, so it will be harder for them to be recognized and identified, which is what a burglar would want to prevent.
Winter coat, with a hood so it can be used to hide their faces if needed. The coat is relatively cheap looking as the guys aren't very professional and are not able to spend a lot. The dark colour of the coat will be good as they will not be as noticeable as if they were wearing lighter, more colourful colours. However, our film is being shot at night so it wouldn't really matter anyway. The coat also needs pockets so the guys can stuff as much as they can in them, instead of carrying a bag.
The trilby hat will be worn by the house owner as we want to leave the man anonymous and not to be recognized by anyone. The mystery is then created and increased as we don't know who anyone is. Many questions are created as a result of this, which is a good way to start a film, especially the thriller as themes of thrillers include: mystery and intrigue.
The tracksuit bottoms will need to black or navy blue so they are dark and like the rest of the outfit of the two guys, unnoticeable. This will help disguise their figures and make them less easy to identify. The tracksuit bottoms are to show how the two young guys are not very professional- in the way they work and look.
The hat will help cover the characters face as we do not want them to be seen by the camera too much as they are breaking into a house. It will help cover some of the head, so it will be harder for them to be recognized and identified, which is what a burglar would want to prevent. 
Winter coat, with a hood so it can be used to hide their faces if needed. The coat is relatively cheap looking as the guys aren't very professional and are not able to spend a lot. The dark colour of the coat will be good as they will not be as noticeable as if they were wearing lighter, more colourful colours. However, our film is being shot at night so it wouldn't really matter anyway. The coat also needs pockets so the guys can stuff as much as they can in them, instead of carrying a bag.
These trainers are quite like the ones that we have found the characters to wear (the two guys breaking into the house). They are going to wear trainers, as they are usually worn by men and they can relatively cheap. They will probably be black (the pairs that the men wear) as they will be less noticeable on the idea of them being less identifiable.
The trilby hat will be worn by the house owner as we want to leave the man anonymous and not to be recognized by anyone. The mystery is then created and increased as we don't know who anyone is. Many questions are created as a result of this, which is a good way to start a film, especially the thriller as themes of thrillers include: mystery and intrigue.
The tracksuit bottoms will need to black or navy blue so they are dark and like the rest of the outfit of the two guys, unnoticeable. This will help disguise their figures and make them less easy to identify. The tracksuit bottoms are to show how the two young guys are not very professional- in the way they work and look.The trench coat that the guy who's house is being burgled, as it looks a lot more sophisticated compared to the puffy coats the younger men wear. The trench coat that we have found and are going to use is black, which is keeping in with the mysterious look and the identity of the man is hard to work out. The coat is the typical wear for a male character in a thriller is to wear a detectives coat. The collar of the trench coat will be used to prop up to hide the neck of the character.
The trousers and shoes are also black as they are very appropriate for the look of our character. We want to make the character look like he has a good job- therefore he can afford to buy expensive and classy clothes. The size of his house will also be reflected in this as the house is relatively big.
The objects that will be included in our thriller are mostly guns. The home owner will own a classic gun, similar to the one below. The less-professional men will have a simple black gun, like the example also below. 
The look of the one on the left, looks rather old, in the film we are planning to show the this gun to the audience when the guy gets it out and then as he goes around to find the intruder.
The look of the one on the left, looks rather old, in the film we are planning to show the this gun to the audience when the guy gets it out and then as he goes around to find the intruder.
Filming Process
Notes on our filming process:
(Tues. 16th December)
Our first attempt at shooting our film went accordingly, however when we had captured it on the editing software and began to watch it back, we noticed a few problems. These included: either the camera or computer had made the film blurry (more in other places) and the camera movements weren't smooth. The film seemed to be jumping making the flow of the film disrupted, which affected the overall piece. Even more, we discussed how "Simon's" outfit didn't look quite right but we rose above this by finding more suitable props for the character to wear. The next shooting of filming was more successful than the last, as we had another chance to re-think and improve our ideas (for shots and so on).
(Late December & Early January)
There was another more serious problem that arouse, a fatal error occured with the main pc we had our thriller filming on the hard drive malfunctioned cuasing us to lose a vast amount of filming. We attempted to retrieve the work we lost, but unfortunately our attempts were unsuccessful, consequently we had to start all of our work from the start, this included filming and editing. Although this put us behind, our teacher gave us an extension to complete our filming editing and the final evalution; this gave us the chance to improve our ideas and learn from our mistakes and hopefully using our experience create a better quality of film.
(Tues. 16th December)
Our first attempt at shooting our film went accordingly, however when we had captured it on the editing software and began to watch it back, we noticed a few problems. These included: either the camera or computer had made the film blurry (more in other places) and the camera movements weren't smooth. The film seemed to be jumping making the flow of the film disrupted, which affected the overall piece. Even more, we discussed how "Simon's" outfit didn't look quite right but we rose above this by finding more suitable props for the character to wear. The next shooting of filming was more successful than the last, as we had another chance to re-think and improve our ideas (for shots and so on).
(Late December & Early January)
There was another more serious problem that arouse, a fatal error occured with the main pc we had our thriller filming on the hard drive malfunctioned cuasing us to lose a vast amount of filming. We attempted to retrieve the work we lost, but unfortunately our attempts were unsuccessful, consequently we had to start all of our work from the start, this included filming and editing. Although this put us behind, our teacher gave us an extension to complete our filming editing and the final evalution; this gave us the chance to improve our ideas and learn from our mistakes and hopefully using our experience create a better quality of film.
Continuity Task
Original Brief:
"Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180- degree rule."
Script:
Ben opens the door, the shot is from behind.
Walks through towards the camera, and over to a desk where DR. Achmed is sitting. He sits down.
Over Dr. Achmed’s shoulder shot, viewing Ben as he starts to talk.
BEN: I need your help. It’s my fish.
DR. ACHMED: What’s wrong with it?
BEN: Well I’ve had him for 5 years now, and I’ve grown really attached to him, but he’s ill. I think he is going to die.
Over Ben’s shoulder shot, viewing Dr. Achmed as he suggests a remedy.
DR. ACHMED: I think I can help you with this. We’re making a type of plastic surgery for fish, which allows them to have a fake plastic fin put on.
It returns back to an over the shoulder shot, viewing Ben, as he ponders the idea of a plastic fin.
BEN: A fake plastic fin? It will probably be able to swim a bit easier, and it will probably be able to eat a lot more.
DR. ACHMED: But it may get bullied by the bigger fish.
Returns to over Ben’s shoulder again as Dr. Achmed doesn’t take Ben seriously.
DR. ACHMED: The only problem is, when this fish gets this plastic fin…
Dr. Achmed starts laughing.
BEN: Are you laughing at me? At my fish? Because he’ll get a plastic fin? He might die! He was my best friend for five f**king years!
Ben angrily stands up and shoves papers off Dr. Achmed’s desk.The camera follows Ben as he starts to walk out, and as he leaves the room, Dr Achmed Speaks:
DR. ACHMED: I’m sorry!
Ben slams the door shut, after turning round and yelling:
BEN: F**k you!
STORYBOARD:
Shot 1: Shot just outside of the room, where Ben comes into shot. He opens the door and enters the room.
Shot 2: Shot from inside the room, pans around as Ben walks around towards and past the camera, to the desk where Dr. Achmed is sitting.
Shot 3: Over the shoulder shot where we see Ben beginning to explain his problems to Dr. Achmed.
Shot 4: Shot reverse shot- to Dr. Achmed- over the shoulder shot.
Shot 5: When Dr. Achmed doesn't take Ben seriously, the camera zooms every so slightly towards Ben's back and then stays still whilst watching Ben storm angrily out of room.
Below is the YouTube video for our continuity task:
The camera techniques which we used in our film mainly included: shot types- mid shots and long shots amongst over the shoulder shots and match on action. We also had to use the 180- degree rule which makes the audience understand what is going on a lot more simpler. The varied shots would have made it more interesting for the audience in the sense, of seeing the shots through different shots and angles. The over the shoulder shots help the audience see who is talking. The way the camera moves with the characters movement is also very smooth, thanks to the sturdy tripod. This smoothness prevents shakiness and unsteadiness, making the shots clean. The 180-degree rule would have made it easier for the audience in the sense of preventing them from getting confused. The yellow line on the storyboards (above) show how the imaginary 180-degree rule line crosses the room, showing the camera positions too. The line would carry on from inside the room to near the door to the bottom right corner. This therefore allowed the shot to be taken firstly outside then continued from inside the room.
The use of new technologies in my group's construction consisted of: digital cameras; non-linear editing software- Adobe Premiere; YouTube and our blogs. As I had not used a digital camera and the editing software before, it was a challenge. However, I was quick to learn the basic use and then developed more skills after continuing the develop the final outcome.
I think the strengths that are shown through our film are that we held the camera steadily creating a shot that was clean and smooth. The variety of shots we used help us gain knowledge in how we can create different atmospheres and emotions. For example, by slowly zooming into Ben's back whilst he realized Dr. Achmed was laughing at him, makes the audience think that Ben was going to get up and leave... which does happen.
I think our final product met the brief successfully as we involved all the points that the brief named. To be more specific, we had the character open a door, cross the room, sit in a chair opposite another character and have a conversation. Further more, we did use match on action- at the beginning when Ben enters the room, we switch to a shot actually in the room still showing him walking to the desk. Secondly, we used shot/reverse shot quite a number of times to show the conversation the characters were having. Then lastly, we used the 180-degree rule in order to prevent the audience from getting confused and keeping the film shots fluent. Therefore, I am very pleased with the outcome we produced.
"Continuity task involving filming and editing a character opening a door, crossing a room and sitting down in a chair opposite another character, with whom she/he then exchanges a couple of lines of dialogue. This task should demonstrate match on action, shot/reverse shot and the 180- degree rule."
Script:
Ben opens the door, the shot is from behind.
Walks through towards the camera, and over to a desk where DR. Achmed is sitting. He sits down.
Over Dr. Achmed’s shoulder shot, viewing Ben as he starts to talk.
BEN: I need your help. It’s my fish.
DR. ACHMED: What’s wrong with it?
BEN: Well I’ve had him for 5 years now, and I’ve grown really attached to him, but he’s ill. I think he is going to die.
Over Ben’s shoulder shot, viewing Dr. Achmed as he suggests a remedy.
DR. ACHMED: I think I can help you with this. We’re making a type of plastic surgery for fish, which allows them to have a fake plastic fin put on.
It returns back to an over the shoulder shot, viewing Ben, as he ponders the idea of a plastic fin.
BEN: A fake plastic fin? It will probably be able to swim a bit easier, and it will probably be able to eat a lot more.
DR. ACHMED: But it may get bullied by the bigger fish.
Returns to over Ben’s shoulder again as Dr. Achmed doesn’t take Ben seriously.
DR. ACHMED: The only problem is, when this fish gets this plastic fin…
Dr. Achmed starts laughing.
BEN: Are you laughing at me? At my fish? Because he’ll get a plastic fin? He might die! He was my best friend for five f**king years!
Ben angrily stands up and shoves papers off Dr. Achmed’s desk.The camera follows Ben as he starts to walk out, and as he leaves the room, Dr Achmed Speaks:
DR. ACHMED: I’m sorry!
Ben slams the door shut, after turning round and yelling:
BEN: F**k you!
STORYBOARD:
Shot 1: Shot just outside of the room, where Ben comes into shot. He opens the door and enters the room.
Shot 2: Shot from inside the room, pans around as Ben walks around towards and past the camera, to the desk where Dr. Achmed is sitting.
Shot 3: Over the shoulder shot where we see Ben beginning to explain his problems to Dr. Achmed.
Shot 4: Shot reverse shot- to Dr. Achmed- over the shoulder shot.
Shot 5: When Dr. Achmed doesn't take Ben seriously, the camera zooms every so slightly towards Ben's back and then stays still whilst watching Ben storm angrily out of room.
Below is the YouTube video for our continuity task:
The camera techniques which we used in our film mainly included: shot types- mid shots and long shots amongst over the shoulder shots and match on action. We also had to use the 180- degree rule which makes the audience understand what is going on a lot more simpler. The varied shots would have made it more interesting for the audience in the sense, of seeing the shots through different shots and angles. The over the shoulder shots help the audience see who is talking. The way the camera moves with the characters movement is also very smooth, thanks to the sturdy tripod. This smoothness prevents shakiness and unsteadiness, making the shots clean. The 180-degree rule would have made it easier for the audience in the sense of preventing them from getting confused. The yellow line on the storyboards (above) show how the imaginary 180-degree rule line crosses the room, showing the camera positions too. The line would carry on from inside the room to near the door to the bottom right corner. This therefore allowed the shot to be taken firstly outside then continued from inside the room.
The use of new technologies in my group's construction consisted of: digital cameras; non-linear editing software- Adobe Premiere; YouTube and our blogs. As I had not used a digital camera and the editing software before, it was a challenge. However, I was quick to learn the basic use and then developed more skills after continuing the develop the final outcome.
I think the strengths that are shown through our film are that we held the camera steadily creating a shot that was clean and smooth. The variety of shots we used help us gain knowledge in how we can create different atmospheres and emotions. For example, by slowly zooming into Ben's back whilst he realized Dr. Achmed was laughing at him, makes the audience think that Ben was going to get up and leave... which does happen.
I think our final product met the brief successfully as we involved all the points that the brief named. To be more specific, we had the character open a door, cross the room, sit in a chair opposite another character and have a conversation. Further more, we did use match on action- at the beginning when Ben enters the room, we switch to a shot actually in the room still showing him walking to the desk. Secondly, we used shot/reverse shot quite a number of times to show the conversation the characters were having. Then lastly, we used the 180-degree rule in order to prevent the audience from getting confused and keeping the film shots fluent. Therefore, I am very pleased with the outcome we produced.
Millers Crossing
Millers Crossing was written and directed by the Coen Brothers, 1990. It suggests how gangsterism in the United States influenced many con-men and killers. The Coen Brother’s film is a combination of the crime, gangster and thriller genres as many thriller signifiers can be identified.
To begin with, the mise-en-scene used gives the film a thriller style as the interior of many of the places and locations in the film have thriller aspects. For example, Leo’s office has a very gangster style, with the dark brown decor and wooden furniture, there are also red, leather sofas which look expensive and classy. The windows were covered in slattered blinds and I noticed that at the start they were all drawn, keeping any light from coming in. This also created claustrophobia as the only light brightening the room were the small and dim lamps around the room. The fact that the door was far away from Leo’s desk too, gave the sense of it being hard to escape. Leo’s desk looked very clean and organized with the odd objects, which seemed to have their place.
Leo seems to have a very high- opinion of himself as he just sits there, looking extremely laid back with an expressionless face whilst Johnny Casper opposite him sweats away. Casper's henchman stands very formally and uptight. Leo’s body language suggested that he did not have the time to listen to this man. The contrast between Johnny and Leo look very noticeable as Johnny does not look cut out to be as high in status at Leo. His suit is a brown colour which makes him nearly sink into the boring decor- nothing special- whilst Leo’s grey suit makes him look a lot more sophisticated. The stares that the men share are very stern and threatening. Leo has his assistant Tom standing by him, casually leaning against a wooden cupboard drinking from a glass.
A shot that I have seen a lot whilst watching thrillers, is how the camera looks into a mirror showing the characters movements and expressions. For instance, Tom is in an apartment and is shown through a mirror with a man sitting in the shot too. Some more examples from Vertigo and Chinatown are where the shot is in the cars wheel or the side mirrors of a car. It is an interesting shot to use as it is different from simpler shots. The idea of something being shown in a different perspective could also come across whilst looking at someone’s reflexion.
Tom’s apartment is shown in at least three times in the film and he is commonly talking on his telephone. One shot shows a simple dining chair at a small, round table, with the telephone upon it. The telephone is ringing, quite loud and it almost sounds like it is echoing, which could be because of how empty and spacious his apartment is. He walks to the telephone and picks it up. The camera moves extremely slowly, zooming in till we come to Tom’s body. This creates a build up of suspension as many questions arise as we do not know who is on the other line, why he got a loan and so on.
The use of shallow focus is also used many times when a character is given more importance than others. By putting more emphasis on the objects it helps make the audience realize- in Miller Crossing- who is talking and essentially listen to what they are saying more carefully. For instance, the shot where the Major and Police Chief are in Leo's office, Tom walks across from the mini bar to the table, he is out of focus, whilst the Major and Police Chief are in focus. This could be so we remember and can recognize their faces as they are appear in the film later on. Another example, is right at the start, just after the credits have been shown, a black hat is on the leafy grounds of what looks like a wood. Shallow focus is used so the audience ignores the background and focuses on the black hat. Many questions are created, for example, who does the hat belong to? and why is it actually in the woods. The hat then blows off into the distance, giving a sense of depth in the woods, almost creating a vanishing point.
One of my favourite shots in Miller Crossing is when two unknown men intrude Leo's house. They go up the stairs with their rifle-looking guns at their sides. We follow the men up, just behind their feet. This adds to the suspense and tension, which is already being increased as the diegetic music is played. For my own group's thriller, we have considered using a similar shot as it will look very effective and different to the other shots.
The themes that are based in the story seem to be made up of the following. Corruption is a main theme as the film, as many things are carried out, such as murder for other people to gain. The police are involved in committing crimes but as they are told by Leo to do so, they have to follow orders. This suggests how moral ambiguity is confused in this story. For one thing, it is hard to say where the morals lie, as the police are beating up people, just so Tom is safe. This is due to Leo's orders and nowadays, this would be very uncommon to see.
Another thriller signifier is that the story includes a femme fatale, Verna, who sleeps with Tom but is with Leo. Leo is unaware of Tom and her affair but as soon as he finds out the truth, he is not happy. The deceit behind this is another thriller theme. It seems that the femme fatale is very seductive as she smokes, glamorous dress sense and wears red lipstick. The way she also plays Tom's strings shows how she does not really care about morals and other people. When Tom arrives at her flat, she slams the door, then he knocks and she lets him in. It is the true characteristics of a femme fatale as she sends mixed signals which would confuse Tom. She is shown as a sex object as many times, she is shown naked in bed and then only in underwear and a see-through dressing gown.
The theme that is shown the most that could be linked with deceit is the conflict of loyalty. The fact that Tom betrays Leo by one, sleeping with his girlfriend, and second of all, he gets involved with Casper. As Tom feels guilty after sleeping with Leo's girlfriend, it is then accentuated as Leo asks what Tom thinks of asking Verna to marry him. The look on his face shows it all, as he just sits there, expressionless, most probably shocked.
The violence in Millers Crossing is very disruptive and cruel, it is also confusing when the police beat up Casper's men. Even more it is quite comical in parts, as the result of the music played. When Leo defends himself and ends up killing the men who try to kill him, the music that he plays on his vinyl player, is played throughout this scene. It is almost like the song is Leo's theme tune but only because he has control over the situation. If it was visa versa, then the song would most probably be the opposite. The fact that Leo is wearing pyjamas, a posh dressing gown and slippers makes the scene even more amusing as he still looks comfortable even though he was under attack. This scene is then drawn to a close as Leo has a very smug look on his face and draws his cigar from his pocket, up to his mouth, and continues to smoke as if nothing had just happened.
To begin with, the mise-en-scene used gives the film a thriller style as the interior of many of the places and locations in the film have thriller aspects. For example, Leo’s office has a very gangster style, with the dark brown decor and wooden furniture, there are also red, leather sofas which look expensive and classy. The windows were covered in slattered blinds and I noticed that at the start they were all drawn, keeping any light from coming in. This also created claustrophobia as the only light brightening the room were the small and dim lamps around the room. The fact that the door was far away from Leo’s desk too, gave the sense of it being hard to escape. Leo’s desk looked very clean and organized with the odd objects, which seemed to have their place.
Leo seems to have a very high- opinion of himself as he just sits there, looking extremely laid back with an expressionless face whilst Johnny Casper opposite him sweats away. Casper's henchman stands very formally and uptight. Leo’s body language suggested that he did not have the time to listen to this man. The contrast between Johnny and Leo look very noticeable as Johnny does not look cut out to be as high in status at Leo. His suit is a brown colour which makes him nearly sink into the boring decor- nothing special- whilst Leo’s grey suit makes him look a lot more sophisticated. The stares that the men share are very stern and threatening. Leo has his assistant Tom standing by him, casually leaning against a wooden cupboard drinking from a glass.
A shot that I have seen a lot whilst watching thrillers, is how the camera looks into a mirror showing the characters movements and expressions. For instance, Tom is in an apartment and is shown through a mirror with a man sitting in the shot too. Some more examples from Vertigo and Chinatown are where the shot is in the cars wheel or the side mirrors of a car. It is an interesting shot to use as it is different from simpler shots. The idea of something being shown in a different perspective could also come across whilst looking at someone’s reflexion.
Tom’s apartment is shown in at least three times in the film and he is commonly talking on his telephone. One shot shows a simple dining chair at a small, round table, with the telephone upon it. The telephone is ringing, quite loud and it almost sounds like it is echoing, which could be because of how empty and spacious his apartment is. He walks to the telephone and picks it up. The camera moves extremely slowly, zooming in till we come to Tom’s body. This creates a build up of suspension as many questions arise as we do not know who is on the other line, why he got a loan and so on.
The use of shallow focus is also used many times when a character is given more importance than others. By putting more emphasis on the objects it helps make the audience realize- in Miller Crossing- who is talking and essentially listen to what they are saying more carefully. For instance, the shot where the Major and Police Chief are in Leo's office, Tom walks across from the mini bar to the table, he is out of focus, whilst the Major and Police Chief are in focus. This could be so we remember and can recognize their faces as they are appear in the film later on. Another example, is right at the start, just after the credits have been shown, a black hat is on the leafy grounds of what looks like a wood. Shallow focus is used so the audience ignores the background and focuses on the black hat. Many questions are created, for example, who does the hat belong to? and why is it actually in the woods. The hat then blows off into the distance, giving a sense of depth in the woods, almost creating a vanishing point.
One of my favourite shots in Miller Crossing is when two unknown men intrude Leo's house. They go up the stairs with their rifle-looking guns at their sides. We follow the men up, just behind their feet. This adds to the suspense and tension, which is already being increased as the diegetic music is played. For my own group's thriller, we have considered using a similar shot as it will look very effective and different to the other shots.
The themes that are based in the story seem to be made up of the following. Corruption is a main theme as the film, as many things are carried out, such as murder for other people to gain. The police are involved in committing crimes but as they are told by Leo to do so, they have to follow orders. This suggests how moral ambiguity is confused in this story. For one thing, it is hard to say where the morals lie, as the police are beating up people, just so Tom is safe. This is due to Leo's orders and nowadays, this would be very uncommon to see.
Another thriller signifier is that the story includes a femme fatale, Verna, who sleeps with Tom but is with Leo. Leo is unaware of Tom and her affair but as soon as he finds out the truth, he is not happy. The deceit behind this is another thriller theme. It seems that the femme fatale is very seductive as she smokes, glamorous dress sense and wears red lipstick. The way she also plays Tom's strings shows how she does not really care about morals and other people. When Tom arrives at her flat, she slams the door, then he knocks and she lets him in. It is the true characteristics of a femme fatale as she sends mixed signals which would confuse Tom. She is shown as a sex object as many times, she is shown naked in bed and then only in underwear and a see-through dressing gown.
The theme that is shown the most that could be linked with deceit is the conflict of loyalty. The fact that Tom betrays Leo by one, sleeping with his girlfriend, and second of all, he gets involved with Casper. As Tom feels guilty after sleeping with Leo's girlfriend, it is then accentuated as Leo asks what Tom thinks of asking Verna to marry him. The look on his face shows it all, as he just sits there, expressionless, most probably shocked.
The violence in Millers Crossing is very disruptive and cruel, it is also confusing when the police beat up Casper's men. Even more it is quite comical in parts, as the result of the music played. When Leo defends himself and ends up killing the men who try to kill him, the music that he plays on his vinyl player, is played throughout this scene. It is almost like the song is Leo's theme tune but only because he has control over the situation. If it was visa versa, then the song would most probably be the opposite. The fact that Leo is wearing pyjamas, a posh dressing gown and slippers makes the scene even more amusing as he still looks comfortable even though he was under attack. This scene is then drawn to a close as Leo has a very smug look on his face and draws his cigar from his pocket, up to his mouth, and continues to smoke as if nothing had just happened.
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