'Amelie'
A voice-over was used to explain the narrative from time to time throughout the film. Although at times this seemed irrelevant (such as when explaining when a man had learned something from a newspaper) it provided a useful insight into the life of Amelie, which I found interesting. Props were used extensively during the film and were also used to pull the narrative along and link events together (such as the photographs), which I also liked.
'American Beauty'
Although becoming cringe-worthy whenever Kevin Spacey's character has thoughts of his daughter's friend, this film turned out to have a rather enjoyable storyline - A man, clearly going through a mid-life crises, who decides to stand up and say he's tired of the fake, generic ways of what 'family' life should be like and re-invent himself. Spacey's neutral tone of voice during his voice overs also provided an element of humor, describing the misery of his life, but sounding like it's just part of the routine.
Thursday 8 July 2010
Thursday 24 June 2010
Less mainstream films
'Eastern Promises' 2007
'Tormented' 2009
'Garden State' 2004 - Director Zach Braff's ability to hand-pick a soundtrack so fitting.
'Good Burger' 1997
'Tormented' 2009
'Garden State' 2004 - Director Zach Braff's ability to hand-pick a soundtrack so fitting.
'Good Burger' 1997
Comments on 'Goodbye Lenin!'
'Goodbye Lenin!' tells the story of how a major political change can affect individuals and families. In this case, how it affects teenager Alexander, his mother, Christiane, and sister, Ariane.
The filmmaker manages to capture the emotion and circumstances that can have an impact on personal life brilliantly, from political issues to having a teenage crush (as displayed by Alex and his passion for Lara, a nurse). This is also applied through the major political changes going at the time: the protests towards the East German border and the rising stance of capitalism. The doctors tell Alex that any inch of excitement could cause his mother to have another heart attack (she had been in a coma for eight months) and put her life in danger. The valiant efforts that Alex goes through are shown with such precision and desperation that he has to capture the events of the past in an almost armature fashion, but this looks extremely professional.
Another factor I enjoyed about this film was the transition between shots of real historical events, clearly shown by a lower screening quality to the current film shots. This helps us to identify the differences. The same goes for the home movie footage, displayed at the start of the film.
The filmmaker manages to capture the emotion and circumstances that can have an impact on personal life brilliantly, from political issues to having a teenage crush (as displayed by Alex and his passion for Lara, a nurse). This is also applied through the major political changes going at the time: the protests towards the East German border and the rising stance of capitalism. The doctors tell Alex that any inch of excitement could cause his mother to have another heart attack (she had been in a coma for eight months) and put her life in danger. The valiant efforts that Alex goes through are shown with such precision and desperation that he has to capture the events of the past in an almost armature fashion, but this looks extremely professional.
Another factor I enjoyed about this film was the transition between shots of real historical events, clearly shown by a lower screening quality to the current film shots. This helps us to identify the differences. The same goes for the home movie footage, displayed at the start of the film.
Friday 18 June 2010
Comments on 'Run Lola Run'
Positives
This is defiantly one of the most bizarre films I have ever seen. This was due to the intensity and confusion caused by the frequent, over the top shots of running and real life to animation switch overs. The soundtrack, which contained a large number of highly synthetic dance beats helped me to stay on edge for the duration of the film. I also especially enjoyed the 'what if?' scenarios created by the end of each run to the super-market, it was as if the filmmaker was exploring the different possibilities of a situation if the slightest little thing changes, such as with the animated dog near the start of each run, can have massive effects on the overall outcome. Actress Franka Potente (Lola) was not allowed to wash her hair for several weeks during filming as the colour of hair would fade with each wash (imdb.com).
Negatives
As I stated above, the frequent shots of running from many different angles, was over the top. Whilst this added to the impact the film had on me, this did become tedious after a while. Lola's screams were also ear-piercingly loud, something that made me cringe slightly. The fact that this is not a US or UK film means we do not think of star factor as highly as we would normally - This isn't necessarily a bad thing, it's just that if people use star factor as a way into viewing a film, then it could be hard to get them to see this one.
This is defiantly one of the most bizarre films I have ever seen. This was due to the intensity and confusion caused by the frequent, over the top shots of running and real life to animation switch overs. The soundtrack, which contained a large number of highly synthetic dance beats helped me to stay on edge for the duration of the film. I also especially enjoyed the 'what if?' scenarios created by the end of each run to the super-market, it was as if the filmmaker was exploring the different possibilities of a situation if the slightest little thing changes, such as with the animated dog near the start of each run, can have massive effects on the overall outcome. Actress Franka Potente (Lola) was not allowed to wash her hair for several weeks during filming as the colour of hair would fade with each wash (imdb.com).
Negatives
As I stated above, the frequent shots of running from many different angles, was over the top. Whilst this added to the impact the film had on me, this did become tedious after a while. Lola's screams were also ear-piercingly loud, something that made me cringe slightly. The fact that this is not a US or UK film means we do not think of star factor as highly as we would normally - This isn't necessarily a bad thing, it's just that if people use star factor as a way into viewing a film, then it could be hard to get them to see this one.
Wednesday 5 May 2010
Film Noir
1) Compare and contrast the main male and female characters in "Double Indemnity" and "The Last Seduction". How are they similar and how are they different?
A similarity between both the leading men in each film (Walter in 'Double Indemnity' and Mike in 'The Last Seduction') is that they both become head over heels for the women in each film (Phyllis for Walter, Bridget (or Wendy) for Mike). Both women devise the plan to have their husband's killed in order for money and want their new men to get involved and help them, but both Mike and Walter cannot at first do it because they find it to be morally wrong. They both however end up becoming involved, just so they can be with their women.
The difference, however, is that Bridget takes an office job at the insurance company where Mike works, while Phyllis is unemployed. Phyllis also has an obstacle in her way that Bridget does not - her husband's daughter, Lola, Which I find surrounds her and Walter's plans with more difficulty, compared to Bridget and Mike's.
2) How well do the female characters fit into the role of Femme Fatal?
I would have to say quite well. This is because both Phyllis and Bridget are able to use their seductiveness to win an innocent man over, make them become crazy for them and ultimately use them, frame them and get away with the entire plot. This applies especially to Bridget, who, in the closing minuets of the film, is able to make Mike appear guilty of murdering her husband (which she did) trick him into raping her and getting him to say that he did all of this during a 911 phone call, While she gets away scot free. There is a small difference to Phyllis, however. While she as well used the man who was crazy for her and ultimately gets him a death sentence, Walter is able to shoot her dead, and before this gets her to admit that she actually loved him (when she couldn't fire the second bullet).
3) How do the settings add to the sense of Noir within the films?
Streets, dark apartments, offices and bars all add to the noir look as they can create alienating and spooky feelings that surround the dark and immoral plots of both the films. Because of the the subject matter involved with the plots, its shows that innocence cannot be found in the world and their is a dark, savage beast underneath every person. The smoky, downtown, often at night settings capture this image really well - during broad daylight in the blazing sunshine simply wouldn't have the same effect.
4) How are light and shadows used within the film to create a sense of meaning?
Darkness and shadows are used to create a sense of mystery and danger - the silhouette approaching and getting larger at the start of 'Double Indemnity', for example, and the opening of 'The Last Seduction' also takes this approach (the smokey office, with the only source of lighting being the desk lights). Ultimately, darkness is a reflection of the mood of the characters and they create the impression that something dreadful is going to happen - when Walter is sat alone in his apartment thinking about Phyllis, the lights are off, but as soon as she arrives he turns them on.
5) Do you think that "The Last Seduction" is a good example of a Neo Noir? How far does it fit the conventions of Film Noir?
I would say yes to the first part of the question as 'The Last Seduction' is set many years later than 'Double Indemnity' which means there is a huge technological update e.g. the use of computers, telephones ect. but the plot and subject matter ties it in to the conventions of film-noir. However, the lack of a character telling the narrative, like in 'Double Indemnity' and less still-shots give it the potential to edge away from film-noir.
6) "Double Indemnity" is often described as the ultimate film noir, why do you think this is? How well does the film fit into the conventions of Film Noir?
Reading a handout which we received in class, I can understand why it is considered as the top example of film noir. Crime and corruption, in an urban setting, and the hero turned evil (Walter) by a corrupted love affair are all features that are present in 'Double Indemnity'. Walter was once a man of innocence, but by trailing after Phyllis his association with this word slowly fades away until it is no more. All of these key features make it fit into the genre's conventions.
7) What are the key themes explored within the 2 films? Please explore each film separately first
'Double Indemnity' -
Love
Crime
Sex
Uncertainty
Murder
Business
Manipulation
The Last Seduction -
Sex
Romance
Murder
Money
Crime
Manipulation
8)What are the common themes of both films
Romance
Sex
Murder
Manipulation
Money
9) How do the messages and values explored within the film reflect the times in which they were made?
A lot of the lighting in 'Double Indemnity' is stripped and dark, which could be related to the stripped-down economy during and after the 2nd World War. This leads to cuts in the sets, but the stripped-down office, apartment and bar locations all make film noir recognizable. Phyllis first appears in just a towel, which immediately catches the eye of Walter and introduces her as the sexy, dominant women who can get anything she wants with her looks, but possibly, this is her limit, in a time where men may have been more dominant in society, politics ect.
Bridget in 'The Last Seductions', on the other hand, has a lot more available for her because of the time period (nearer the present). She easily gets a job and is able to get to a new location easily. More money was available to spend on sets, props and lighting, which results in the combination of light and darkness and the increased use of technology (phones, computers, cars ect.). However, not a lot of ties in with the plot, unlike in 'Double Indemnity' where the dictaphone is used by Walter to drive the entire storyline.
Something that both the time periods have in common, however, is that both male characters first show disgust towards the plots towards murder due to it being immoral. Both men, however, give in and join in with these tactics so they can remain close to the women they are crazy for. However, the endings to each film show us that manipulation is something that has taken place for years, and that there some people out there who simply want to use you for their own devilish ways. Some people simply exist to screw you over.
A similarity between both the leading men in each film (Walter in 'Double Indemnity' and Mike in 'The Last Seduction') is that they both become head over heels for the women in each film (Phyllis for Walter, Bridget (or Wendy) for Mike). Both women devise the plan to have their husband's killed in order for money and want their new men to get involved and help them, but both Mike and Walter cannot at first do it because they find it to be morally wrong. They both however end up becoming involved, just so they can be with their women.
The difference, however, is that Bridget takes an office job at the insurance company where Mike works, while Phyllis is unemployed. Phyllis also has an obstacle in her way that Bridget does not - her husband's daughter, Lola, Which I find surrounds her and Walter's plans with more difficulty, compared to Bridget and Mike's.
2) How well do the female characters fit into the role of Femme Fatal?
I would have to say quite well. This is because both Phyllis and Bridget are able to use their seductiveness to win an innocent man over, make them become crazy for them and ultimately use them, frame them and get away with the entire plot. This applies especially to Bridget, who, in the closing minuets of the film, is able to make Mike appear guilty of murdering her husband (which she did) trick him into raping her and getting him to say that he did all of this during a 911 phone call, While she gets away scot free. There is a small difference to Phyllis, however. While she as well used the man who was crazy for her and ultimately gets him a death sentence, Walter is able to shoot her dead, and before this gets her to admit that she actually loved him (when she couldn't fire the second bullet).
3) How do the settings add to the sense of Noir within the films?
Streets, dark apartments, offices and bars all add to the noir look as they can create alienating and spooky feelings that surround the dark and immoral plots of both the films. Because of the the subject matter involved with the plots, its shows that innocence cannot be found in the world and their is a dark, savage beast underneath every person. The smoky, downtown, often at night settings capture this image really well - during broad daylight in the blazing sunshine simply wouldn't have the same effect.
4) How are light and shadows used within the film to create a sense of meaning?
Darkness and shadows are used to create a sense of mystery and danger - the silhouette approaching and getting larger at the start of 'Double Indemnity', for example, and the opening of 'The Last Seduction' also takes this approach (the smokey office, with the only source of lighting being the desk lights). Ultimately, darkness is a reflection of the mood of the characters and they create the impression that something dreadful is going to happen - when Walter is sat alone in his apartment thinking about Phyllis, the lights are off, but as soon as she arrives he turns them on.
5) Do you think that "The Last Seduction" is a good example of a Neo Noir? How far does it fit the conventions of Film Noir?
I would say yes to the first part of the question as 'The Last Seduction' is set many years later than 'Double Indemnity' which means there is a huge technological update e.g. the use of computers, telephones ect. but the plot and subject matter ties it in to the conventions of film-noir. However, the lack of a character telling the narrative, like in 'Double Indemnity' and less still-shots give it the potential to edge away from film-noir.
6) "Double Indemnity" is often described as the ultimate film noir, why do you think this is? How well does the film fit into the conventions of Film Noir?
Reading a handout which we received in class, I can understand why it is considered as the top example of film noir. Crime and corruption, in an urban setting, and the hero turned evil (Walter) by a corrupted love affair are all features that are present in 'Double Indemnity'. Walter was once a man of innocence, but by trailing after Phyllis his association with this word slowly fades away until it is no more. All of these key features make it fit into the genre's conventions.
7) What are the key themes explored within the 2 films? Please explore each film separately first
'Double Indemnity' -
Love
Crime
Sex
Uncertainty
Murder
Business
Manipulation
The Last Seduction -
Sex
Romance
Murder
Money
Crime
Manipulation
8)What are the common themes of both films
Romance
Sex
Murder
Manipulation
Money
9) How do the messages and values explored within the film reflect the times in which they were made?
A lot of the lighting in 'Double Indemnity' is stripped and dark, which could be related to the stripped-down economy during and after the 2nd World War. This leads to cuts in the sets, but the stripped-down office, apartment and bar locations all make film noir recognizable. Phyllis first appears in just a towel, which immediately catches the eye of Walter and introduces her as the sexy, dominant women who can get anything she wants with her looks, but possibly, this is her limit, in a time where men may have been more dominant in society, politics ect.
Bridget in 'The Last Seductions', on the other hand, has a lot more available for her because of the time period (nearer the present). She easily gets a job and is able to get to a new location easily. More money was available to spend on sets, props and lighting, which results in the combination of light and darkness and the increased use of technology (phones, computers, cars ect.). However, not a lot of ties in with the plot, unlike in 'Double Indemnity' where the dictaphone is used by Walter to drive the entire storyline.
Something that both the time periods have in common, however, is that both male characters first show disgust towards the plots towards murder due to it being immoral. Both men, however, give in and join in with these tactics so they can remain close to the women they are crazy for. However, the endings to each film show us that manipulation is something that has taken place for years, and that there some people out there who simply want to use you for their own devilish ways. Some people simply exist to screw you over.
Tuesday 20 April 2010
Living With Crime
What social scenarios are explored within each film?
'London to Brighton' - Kelly and Joanne are at first complete strangers to each other, but after going through so much trauma together, end up so close that they are much like siblings. It shows what 24 hours with someone you never met before can do.
'Sweet Sixteen' - the partnership between Liam and Pinball is what keeps these close friends together when selling drugs. When Liam joins the new gang, however, a strain is put on their friendship, which Pinball deals with by creating disastrous results.
'Bullet Boy' - Again, a strong friendship is clearly displayed between Rikki and Wisdom, but they as well clash over their differences. Wisdom often wants to deal with his problems with violent affairs, while Rikki can see because of his time in jail, violence is often not needed and often attempts to get him out of it. Wisdom causes trouble with a rival gang after shooting a gang member's dog, which comes back to haunt both Wisdom and Rikki.
How is crime portrayed in each film?
In 'Bullet Boy' Rikki's home town of Hackney, North-East London, is represented a city where crime is just around the corner, as the almost street brawl between Wisdom and the enemy gang members show. The smallest accident, like breaking the car-wing mirror, can result in violence if words are not chosen carefully. After his time in prison, Rikki knows that a brawl would result with him back in prison and therefore is smart enough to get himself and Wisdom out of it. 'London to Brighton', however, has crime as the driving force throughout the entire film, with Kelly and Joanne running away from crime from the start of the film. It seems that crime is the only way to gain money (Kelly's prostitution) and the result at the end of the film is only more crime and the effects it leaves on people. 'Sweet Sixteen' also displays crime as the only motive for gaining money (Liam's entrance into drug dealing) but his intentions are good (to raise money for the 'dream' caravan and to make his mother happy). However, it means that he has to do the dirty and dangerous dealing that come with selling drugs, much like Kelly in 'London to Brighton' with her prostitution, as her intentions are also good (raising the train fare for safety).
In what ways are people deprived in each film?
Rikki in 'Bullet Boy' has his chances of finding employment cut down heavily after gaining a criminal record. His restraining order also limits him to speaking and showing what is on his mind, for example, at the brawl of the start of the film, he has to get himself and Wisdom out of it because of what it could lead to - For all we know, he may have wanted to tell the enemy gang members how he felt with his fists. In 'Sweet Sixteen' teenager seems to only connect with his mother, who is in prison because of Liam's abusive stepfarther Stan's drug dealing. He is deprived here because he is not able to see his mother that much and has to deal with the anger from his stepfarther and earn money for himself, and not in the most convenient way (selling contraband cigarettes in local pubs). Much like Liam, Joanne of 'London to Brighton' also deals without the care of her mother and farther as she had ran away from her home. However, I feel that because of her young age, she also deprived of an understanding to what really circles around the events in the film.
What opportunities are available to the main characters in each of the films?
For each of the characters (Liam, Rikki and Kelly) I would say not a lot, if any, opportunities are available for them. This is because in each film, there is little, if any, mention of education. In 'Sweet Sixteen' Liam is 15-years-old - at this age you would expect him to be in school. However, when his mother asks him about it, he simple laughs and ignores the subject. Rikki's ('Bullet Boy') time in prison would have cut him off from education opportunities and Joanne ('London to Brighton') is in the same position because of running away from home.
How are criminals portrayed within each film?
Stuart Allen ('London to Brighton') appears as the upper-class, in charge of everything overall threatening criminal(dressed in white suit accompanied by henchmen, sat in a strip club answering a call). He puts fear into Derek by slashing his leg open as a 'taste' of whats to come, and Derek constantly tells Kelly of how much trouble he is in. 'Sweet Sixteen' and 'Bullet Boy' portray criminals as a team effort, but in 'Sweet Sixteen' new members must undergo a test to show that they have the guts to take part (Liam being asked to stab the man in the club). 'Bullet Boy' shows the unease that can be felt when surrounded by an enemy gang when alone (Rikki standing at the train station at the end of the film).
Can the protagonists escape from the situation they are in?
'Bullet Boy's protagonist, Rikki, is released from prison but with a probation order, and cannot get heavily involved in violent situations, as the early scene with Wisdom shows. His criminal record also slices his employment opportunities, so it is as if he is 'boxed in' from the actions that take place around him. Joanne and Kelly, at the end of 'London to Brighton' although they are safe from the previous night's events and be relieved that its all over, have to live with the guilt that they were the reason behind Stuart murdering Derek and Chum. in 'Sweet Sixteen' Liam emotional scars those close to him - his friend Pinball feel betrayed by him being sucked into the new gang and his mother cannot bare the thought of his earning from drug dealing getting them a new apartment. He also has to live with guilt.
What punishments do characters receive for their crimes in each of the films?
Joanne - For stabbing and leaving his farther to die, Stuart makes her pull the trigger on Derek, which will leave her emotionally scared for the rest of her life.
Liam - After spending more time with his new gang, Pinball becomes angered and sets Liam's dream caravan on fire, leaving it to burn to the ground. As an act of self-punishment, he also cuts his face right in front of Liam. Liam's mother, upset by how Liam has earned money, runs away to Liam's abusive stepfarther.
Rikki - Because of his younger brother, Curtis, finding and injuring a friend with the gun Wisdom gave him, Rikki is asked to leave home by his mother. However, it is ultimately Wisdom's crime of attempted murder that gets Rikki into trouble. At the train station, Rikki is shot dead by the gang member Godfrey, who Wisdom almost has a brawl with at the start of the film.
How is violence portrayed within each of the films?
'Bullet Boy' portrays violence as something anyone can easily walk into, even for the most minor accident. After seeing the brawl that could have taken place if Rikki didn't pull Wisdom back, I find it is easy to see how Rikki ended up in prison in the first place - violence, if not careful, can be found just around the corner.
'London to Brighton' and 'Sweet Sixteen' however, show how violence can occur for the business that the characters are in. for Liam, this involves the dangers that drug dealing can have (where he is beaten for his gear, but gets up again multiple times) and 'London to Brighton' keeps a reminder of violence throughout the film - Kelly's bruised, swollen face.
What social restrictions are evident in each of these films?
in 'London to Brighton' Joanne is found begging outside Waterloo station. When Kelly approaches her, at first she is instantly questioning and just wants her to leave. This indicates that because of not being at home and going to school, Joanne does not get the opportunity to meet and socialise with many people and her life on the streets forces to be rude. 'Bullet Boy' and 'Sweet Sixteen's protagonists, Liam and Rikki, are both shows to have social skills as they both have close peers (Pinball and Wisdom respectively) but they also show that the simplest misunderstanding, if not handled correctly, can make a long-lasting, incorrect impression.
How can the films be said to reflect aspects of contemporary society?
Firstly, I would like to draw attention to a scene in 'Sweet Sixteen' in particular. The scene where Liam is beaten by a rival gang because of selling drugs. The gang then take the drugs for themselves and Liam attempts to get them back several times, and with each attempt comes another beating. In life, the drug trade can often be a dangerous one and if cards are played incorrectly, beatings can happen. However, the realism of society reflected in this scene, I feel, is the simple act of bullying. The rival gang are obviously unhappy about his involvement in drug dealing and what he has to sell so, as an act of jealously, they steal his gear, beating him down to the ground in the process.
Next, I will look at the situation Joanne is put in in 'London to Brighton'. Joanne reveals that she has run away from home, at the young age of 12. Sadly, Joanne is representing an extremely realistic scenario in society. She tells Kelly that she ran away from home because she had 'nothing' for her there. Unfortunately, there are many children in Britain like Joanne who do the same thing because of the same reason, so society is well reflected in this aspect. The same applies for Kelly and her prostitution services. the seedy men she serves can be found all over the country, and so can prostitutes.
Finally, I will look at aspects of 'Bullet Boy' that are easily reflected in society. When finding the gun that his older brother had hidden, Curtis gives off a strong impression that he will follow in the footsteps of his older brother - footsteps that Rikki is desperate to erase. The comparison to society here is not necessarily related to crime, but the actions that younger siblings can imitate. The fear here is that if an older sibling makes a mistake, the younger sibling can repeat it and the actions of this mistake, no matter how serious it can be, will also be repeated. For Rikki and Curtis, this is ultimately a prison sentence, a restraining order, employment becoming harder to find and the emotional strain on the family.
What links can be made between the social situation of the films and the society in which we live?
'Bullet Boy' - Because of his probation order and criminal record, Rikki will now find it harder to seek employment, as his brother points out. Interviewers may find think that it will be harder to talk to him, which would be bad for a customer-friendly environment. His record makes him a figure to be intimidated by. On application forms, a company will often ask about if a person has a criminal record and for details about it, which means that regretful words will have to be written down on the paper: there is no way around it. Because of this, it is no surprise that Rikki begins to get upset when Curtis mentions it: he too will have a regretful stain on his application forms that he wishes wasn't there.
'Sweet Sixteen' - When Liam is initiated into the new drug-running gang and gains a new apartment, Pinball, his best friend, feels betrayed. He and Liam had been previously selling contraband cigarettes and entered the drug trade together, so he feels that when Liam begins selling as part of the gang, he feels he has been left behind. as an act of self-punishment, Pinball cuts his own face with the knife Liam had been given when joining the gang. the link to society here is the effect on drugs, but not taking them, still has on those close to you. When drugs are taken, there are bound to be family members and/or friends that become upset, but in this film, no one is seen taking them. The effects are still powerful though, with Pinball slashing his face and Liam's mother, Jean, running away after a 'welcome home' party. This goes to show that you don't have to take drugs to upset someone: it's just mentioning them or getting involved with them that can be harmful, and this links in well to society.
'London to Brighton' - Kelly is a prostitute, servicing anyone she can for money. No record of a previous education or employment is mentioned and she is in disgust with herself about what she does for a living. She feels as if there is nothing else for her, but her commitment and willingness to get Joanne to safety is strong. I think that this shows that her disgust for herself really could be unnecessary and this is the link to society. People often feel like there is nothing better they can do with their lives and pick the job at the bottom of the pile (for Kelly, this is prostitution) and because they feel there is nowhere else they belong. A lot of the time, there is the clear light that they really could be doing something better if they just put the effort in. Kelly shows this effort when protecting Joanne and getting her to safety, but sadly, she seems unaware of it, and so do many people who end up on the lowest step of the ladder.
'London to Brighton' - Kelly and Joanne are at first complete strangers to each other, but after going through so much trauma together, end up so close that they are much like siblings. It shows what 24 hours with someone you never met before can do.
'Sweet Sixteen' - the partnership between Liam and Pinball is what keeps these close friends together when selling drugs. When Liam joins the new gang, however, a strain is put on their friendship, which Pinball deals with by creating disastrous results.
'Bullet Boy' - Again, a strong friendship is clearly displayed between Rikki and Wisdom, but they as well clash over their differences. Wisdom often wants to deal with his problems with violent affairs, while Rikki can see because of his time in jail, violence is often not needed and often attempts to get him out of it. Wisdom causes trouble with a rival gang after shooting a gang member's dog, which comes back to haunt both Wisdom and Rikki.
How is crime portrayed in each film?
In 'Bullet Boy' Rikki's home town of Hackney, North-East London, is represented a city where crime is just around the corner, as the almost street brawl between Wisdom and the enemy gang members show. The smallest accident, like breaking the car-wing mirror, can result in violence if words are not chosen carefully. After his time in prison, Rikki knows that a brawl would result with him back in prison and therefore is smart enough to get himself and Wisdom out of it. 'London to Brighton', however, has crime as the driving force throughout the entire film, with Kelly and Joanne running away from crime from the start of the film. It seems that crime is the only way to gain money (Kelly's prostitution) and the result at the end of the film is only more crime and the effects it leaves on people. 'Sweet Sixteen' also displays crime as the only motive for gaining money (Liam's entrance into drug dealing) but his intentions are good (to raise money for the 'dream' caravan and to make his mother happy). However, it means that he has to do the dirty and dangerous dealing that come with selling drugs, much like Kelly in 'London to Brighton' with her prostitution, as her intentions are also good (raising the train fare for safety).
In what ways are people deprived in each film?
Rikki in 'Bullet Boy' has his chances of finding employment cut down heavily after gaining a criminal record. His restraining order also limits him to speaking and showing what is on his mind, for example, at the brawl of the start of the film, he has to get himself and Wisdom out of it because of what it could lead to - For all we know, he may have wanted to tell the enemy gang members how he felt with his fists. In 'Sweet Sixteen' teenager seems to only connect with his mother, who is in prison because of Liam's abusive stepfarther Stan's drug dealing. He is deprived here because he is not able to see his mother that much and has to deal with the anger from his stepfarther and earn money for himself, and not in the most convenient way (selling contraband cigarettes in local pubs). Much like Liam, Joanne of 'London to Brighton' also deals without the care of her mother and farther as she had ran away from her home. However, I feel that because of her young age, she also deprived of an understanding to what really circles around the events in the film.
What opportunities are available to the main characters in each of the films?
For each of the characters (Liam, Rikki and Kelly) I would say not a lot, if any, opportunities are available for them. This is because in each film, there is little, if any, mention of education. In 'Sweet Sixteen' Liam is 15-years-old - at this age you would expect him to be in school. However, when his mother asks him about it, he simple laughs and ignores the subject. Rikki's ('Bullet Boy') time in prison would have cut him off from education opportunities and Joanne ('London to Brighton') is in the same position because of running away from home.
How are criminals portrayed within each film?
Stuart Allen ('London to Brighton') appears as the upper-class, in charge of everything overall threatening criminal(dressed in white suit accompanied by henchmen, sat in a strip club answering a call). He puts fear into Derek by slashing his leg open as a 'taste' of whats to come, and Derek constantly tells Kelly of how much trouble he is in. 'Sweet Sixteen' and 'Bullet Boy' portray criminals as a team effort, but in 'Sweet Sixteen' new members must undergo a test to show that they have the guts to take part (Liam being asked to stab the man in the club). 'Bullet Boy' shows the unease that can be felt when surrounded by an enemy gang when alone (Rikki standing at the train station at the end of the film).
Can the protagonists escape from the situation they are in?
'Bullet Boy's protagonist, Rikki, is released from prison but with a probation order, and cannot get heavily involved in violent situations, as the early scene with Wisdom shows. His criminal record also slices his employment opportunities, so it is as if he is 'boxed in' from the actions that take place around him. Joanne and Kelly, at the end of 'London to Brighton' although they are safe from the previous night's events and be relieved that its all over, have to live with the guilt that they were the reason behind Stuart murdering Derek and Chum. in 'Sweet Sixteen' Liam emotional scars those close to him - his friend Pinball feel betrayed by him being sucked into the new gang and his mother cannot bare the thought of his earning from drug dealing getting them a new apartment. He also has to live with guilt.
What punishments do characters receive for their crimes in each of the films?
Joanne - For stabbing and leaving his farther to die, Stuart makes her pull the trigger on Derek, which will leave her emotionally scared for the rest of her life.
Liam - After spending more time with his new gang, Pinball becomes angered and sets Liam's dream caravan on fire, leaving it to burn to the ground. As an act of self-punishment, he also cuts his face right in front of Liam. Liam's mother, upset by how Liam has earned money, runs away to Liam's abusive stepfarther.
Rikki - Because of his younger brother, Curtis, finding and injuring a friend with the gun Wisdom gave him, Rikki is asked to leave home by his mother. However, it is ultimately Wisdom's crime of attempted murder that gets Rikki into trouble. At the train station, Rikki is shot dead by the gang member Godfrey, who Wisdom almost has a brawl with at the start of the film.
How is violence portrayed within each of the films?
'Bullet Boy' portrays violence as something anyone can easily walk into, even for the most minor accident. After seeing the brawl that could have taken place if Rikki didn't pull Wisdom back, I find it is easy to see how Rikki ended up in prison in the first place - violence, if not careful, can be found just around the corner.
'London to Brighton' and 'Sweet Sixteen' however, show how violence can occur for the business that the characters are in. for Liam, this involves the dangers that drug dealing can have (where he is beaten for his gear, but gets up again multiple times) and 'London to Brighton' keeps a reminder of violence throughout the film - Kelly's bruised, swollen face.
What social restrictions are evident in each of these films?
in 'London to Brighton' Joanne is found begging outside Waterloo station. When Kelly approaches her, at first she is instantly questioning and just wants her to leave. This indicates that because of not being at home and going to school, Joanne does not get the opportunity to meet and socialise with many people and her life on the streets forces to be rude. 'Bullet Boy' and 'Sweet Sixteen's protagonists, Liam and Rikki, are both shows to have social skills as they both have close peers (Pinball and Wisdom respectively) but they also show that the simplest misunderstanding, if not handled correctly, can make a long-lasting, incorrect impression.
How can the films be said to reflect aspects of contemporary society?
Firstly, I would like to draw attention to a scene in 'Sweet Sixteen' in particular. The scene where Liam is beaten by a rival gang because of selling drugs. The gang then take the drugs for themselves and Liam attempts to get them back several times, and with each attempt comes another beating. In life, the drug trade can often be a dangerous one and if cards are played incorrectly, beatings can happen. However, the realism of society reflected in this scene, I feel, is the simple act of bullying. The rival gang are obviously unhappy about his involvement in drug dealing and what he has to sell so, as an act of jealously, they steal his gear, beating him down to the ground in the process.
Next, I will look at the situation Joanne is put in in 'London to Brighton'. Joanne reveals that she has run away from home, at the young age of 12. Sadly, Joanne is representing an extremely realistic scenario in society. She tells Kelly that she ran away from home because she had 'nothing' for her there. Unfortunately, there are many children in Britain like Joanne who do the same thing because of the same reason, so society is well reflected in this aspect. The same applies for Kelly and her prostitution services. the seedy men she serves can be found all over the country, and so can prostitutes.
Finally, I will look at aspects of 'Bullet Boy' that are easily reflected in society. When finding the gun that his older brother had hidden, Curtis gives off a strong impression that he will follow in the footsteps of his older brother - footsteps that Rikki is desperate to erase. The comparison to society here is not necessarily related to crime, but the actions that younger siblings can imitate. The fear here is that if an older sibling makes a mistake, the younger sibling can repeat it and the actions of this mistake, no matter how serious it can be, will also be repeated. For Rikki and Curtis, this is ultimately a prison sentence, a restraining order, employment becoming harder to find and the emotional strain on the family.
What links can be made between the social situation of the films and the society in which we live?
'Bullet Boy' - Because of his probation order and criminal record, Rikki will now find it harder to seek employment, as his brother points out. Interviewers may find think that it will be harder to talk to him, which would be bad for a customer-friendly environment. His record makes him a figure to be intimidated by. On application forms, a company will often ask about if a person has a criminal record and for details about it, which means that regretful words will have to be written down on the paper: there is no way around it. Because of this, it is no surprise that Rikki begins to get upset when Curtis mentions it: he too will have a regretful stain on his application forms that he wishes wasn't there.
'Sweet Sixteen' - When Liam is initiated into the new drug-running gang and gains a new apartment, Pinball, his best friend, feels betrayed. He and Liam had been previously selling contraband cigarettes and entered the drug trade together, so he feels that when Liam begins selling as part of the gang, he feels he has been left behind. as an act of self-punishment, Pinball cuts his own face with the knife Liam had been given when joining the gang. the link to society here is the effect on drugs, but not taking them, still has on those close to you. When drugs are taken, there are bound to be family members and/or friends that become upset, but in this film, no one is seen taking them. The effects are still powerful though, with Pinball slashing his face and Liam's mother, Jean, running away after a 'welcome home' party. This goes to show that you don't have to take drugs to upset someone: it's just mentioning them or getting involved with them that can be harmful, and this links in well to society.
'London to Brighton' - Kelly is a prostitute, servicing anyone she can for money. No record of a previous education or employment is mentioned and she is in disgust with herself about what she does for a living. She feels as if there is nothing else for her, but her commitment and willingness to get Joanne to safety is strong. I think that this shows that her disgust for herself really could be unnecessary and this is the link to society. People often feel like there is nothing better they can do with their lives and pick the job at the bottom of the pile (for Kelly, this is prostitution) and because they feel there is nowhere else they belong. A lot of the time, there is the clear light that they really could be doing something better if they just put the effort in. Kelly shows this effort when protecting Joanne and getting her to safety, but sadly, she seems unaware of it, and so do many people who end up on the lowest step of the ladder.
Tuesday 6 April 2010
'London to Brighton' - Aspects of crime
Narrative methods
The story begins with the present - Kelly and Joanne bursting into a rundown toilet and deciding that they need to escape to Brighton. But what are they escaping from? This all made clear when flashbacks are used, showing why they needed to escape. This formula continues as they arrive in Brighton and as Derek and Chum turn up, and I find it is a winning formula. Questions constantly come, but they are answered.
Representation of poverty
Poverty is what essentially, I find, kicks off the trauma-infected events of the story. Joanne is found begging on the streets of London and it is Kelly who decides to take her to a nearby restaurant for food. It is Joanne, a young, homeless girl, that is wanted for Duncan Allen's sick schematics (to have sex with her) and in the event of her escaping with Kelly and killing him that leads on to have devastating consequences.
Representation of family relationships
It is revealed that Joanne's mother is dead and that her farther abused her, the latter of which being her reason for leaving home and heading for the streets. She says that there is nothing for her at home, which suggest pure hatred for her farther. Abuse can be a reason for many young children running away from home and face trouble on the streets, which is represented in the character of Joanne.
Representation of class
A mixture of class is displayed in this film. Kelly and Derek both come across as low-class - Kelly because she is a prostitute and it is her way of getting money throughout the film and Derek because he is a pimp, which gives his connection to Kelly. Joanne's class is somewhat mysterious - we see nothing of her home with family until she meets her grandmother at the end of the film. At an ever so brief glance, I would think that Joanne is somewhat middle-class at least. Duncan Allen represents the high gang class. This is seen clearly as he is accompanied by henchmen and appears in locations like strip clubs and wears a suit.
Representation of violence
Violence is the driving force behind the story. the film begins and ends with violent reflections, the beginning being Kelly's swollen face, which is a clear sign that she has been abused, and the ending of Derek and Chum being shot which suggest violence must be dealt with by more violence.
Representation of crime
12-year-old Joanne admits to stabbing Duncan's farther, Stuart, and as payback has Chum and Derek both shot dead, the latter of which Stuart makes Joanne pull the trigger for. Crime is dealt for with more crime, but I think this was not the method of Duncan's vengeance plan. I think that he felt really bad for finding his farther dead, so he wanted to make Joanne feel as bad as he did, and the best way to do this was to try and make her commit another crime. However, I found the shooting of Derek and Chum to be quite unexpected, but this could have been part of Duncan's method - someone has to pay, and it is the unexpected that do.
The story begins with the present - Kelly and Joanne bursting into a rundown toilet and deciding that they need to escape to Brighton. But what are they escaping from? This all made clear when flashbacks are used, showing why they needed to escape. This formula continues as they arrive in Brighton and as Derek and Chum turn up, and I find it is a winning formula. Questions constantly come, but they are answered.
Representation of poverty
Poverty is what essentially, I find, kicks off the trauma-infected events of the story. Joanne is found begging on the streets of London and it is Kelly who decides to take her to a nearby restaurant for food. It is Joanne, a young, homeless girl, that is wanted for Duncan Allen's sick schematics (to have sex with her) and in the event of her escaping with Kelly and killing him that leads on to have devastating consequences.
Representation of family relationships
It is revealed that Joanne's mother is dead and that her farther abused her, the latter of which being her reason for leaving home and heading for the streets. She says that there is nothing for her at home, which suggest pure hatred for her farther. Abuse can be a reason for many young children running away from home and face trouble on the streets, which is represented in the character of Joanne.
Representation of class
A mixture of class is displayed in this film. Kelly and Derek both come across as low-class - Kelly because she is a prostitute and it is her way of getting money throughout the film and Derek because he is a pimp, which gives his connection to Kelly. Joanne's class is somewhat mysterious - we see nothing of her home with family until she meets her grandmother at the end of the film. At an ever so brief glance, I would think that Joanne is somewhat middle-class at least. Duncan Allen represents the high gang class. This is seen clearly as he is accompanied by henchmen and appears in locations like strip clubs and wears a suit.
Representation of violence
Violence is the driving force behind the story. the film begins and ends with violent reflections, the beginning being Kelly's swollen face, which is a clear sign that she has been abused, and the ending of Derek and Chum being shot which suggest violence must be dealt with by more violence.
Representation of crime
12-year-old Joanne admits to stabbing Duncan's farther, Stuart, and as payback has Chum and Derek both shot dead, the latter of which Stuart makes Joanne pull the trigger for. Crime is dealt for with more crime, but I think this was not the method of Duncan's vengeance plan. I think that he felt really bad for finding his farther dead, so he wanted to make Joanne feel as bad as he did, and the best way to do this was to try and make her commit another crime. However, I found the shooting of Derek and Chum to be quite unexpected, but this could have been part of Duncan's method - someone has to pay, and it is the unexpected that do.
'Bullet Boy' - Aspects of crime
Representation of race or minority groups
The film stars an all African-English group of characters. Ricky's farther is a priest and his mother heavily religious, maybe using prayer as a way of trying to protect her children as she feels she has no power over them herself.
Representation of crime
It is clear that crime is well represented theme from basically the start of the film. We can see this as Ricky, who is only 18, is first seen being released from prison and is issued a probation order.
Representation of family relationships
Family is a big concern of Ricky's throughout the film. It is clear that he has a good relationship with his 12-year-old brother, Curtis, hides in a car boot in order to see his older sibling. The gun given to Ricky by Wisdom also play an important role in the overall family dynamic. Ricky gets angry when he finds out that Curtis had hidden the gun and I think this is because he does not want his brother going through the same processes as he has already done (assault, prison).
Representation of violence
Due to his time in prison because of an assault charge, Ricky is released with a probation order. We can see that Ricky is desperate to avoid anything like this again when having to back Wisdom away from the rival gang member after smashing a wing-mirror. Maybe this was something that Ricky would have caused a stir about before his time in prison, but because of his probation order, he has to think carefully about what is worth causing a fuss over.
Representation of education
Curtis is seen attending school, where he chatters with a friend instead of listening to the teacher. Ricky's education background, however, is unknown. College/university are not on his mind and when Curtis looks at his CV he states that is would be hard for him to find a job with a criminal record. My thought here is that maybe the reason Ricky got caught in crimes was a lack of an education background, and that Curtis, idolizing his brother's every move, would unfortunately follow through on this.
Representation of class
To me, Ricky's family is suggest as being of a low-middle class family. This is because they live in a relatively small London flat where Ricky and Curtis share a bedroom. All of their belongings are in that room, with not many places to hide things. However, the spacious living room suggest comfort. As Ricky's farther is a priest, we are unaware of his earnings, and his mother I cannot remember seeing at a workplace.
The film stars an all African-English group of characters. Ricky's farther is a priest and his mother heavily religious, maybe using prayer as a way of trying to protect her children as she feels she has no power over them herself.
Representation of crime
It is clear that crime is well represented theme from basically the start of the film. We can see this as Ricky, who is only 18, is first seen being released from prison and is issued a probation order.
Representation of family relationships
Family is a big concern of Ricky's throughout the film. It is clear that he has a good relationship with his 12-year-old brother, Curtis, hides in a car boot in order to see his older sibling. The gun given to Ricky by Wisdom also play an important role in the overall family dynamic. Ricky gets angry when he finds out that Curtis had hidden the gun and I think this is because he does not want his brother going through the same processes as he has already done (assault, prison).
Representation of violence
Due to his time in prison because of an assault charge, Ricky is released with a probation order. We can see that Ricky is desperate to avoid anything like this again when having to back Wisdom away from the rival gang member after smashing a wing-mirror. Maybe this was something that Ricky would have caused a stir about before his time in prison, but because of his probation order, he has to think carefully about what is worth causing a fuss over.
Representation of education
Curtis is seen attending school, where he chatters with a friend instead of listening to the teacher. Ricky's education background, however, is unknown. College/university are not on his mind and when Curtis looks at his CV he states that is would be hard for him to find a job with a criminal record. My thought here is that maybe the reason Ricky got caught in crimes was a lack of an education background, and that Curtis, idolizing his brother's every move, would unfortunately follow through on this.
Representation of class
To me, Ricky's family is suggest as being of a low-middle class family. This is because they live in a relatively small London flat where Ricky and Curtis share a bedroom. All of their belongings are in that room, with not many places to hide things. However, the spacious living room suggest comfort. As Ricky's farther is a priest, we are unaware of his earnings, and his mother I cannot remember seeing at a workplace.
Sunday 28 March 2010
'Sweet Sixteen' - Aspects of crime
Is there a sense that the lack of opportunity that the characters have is what leads to their crimes?
I would say yes. This is because Liam is desperate to make his mother happy and the film shows that he will do anything to make that happen. The decision to enter the drug trade could be due to a lack of other businesses in the local area or for people at Liam's age (15, 16). Another reason for this direction could be that Liam's stepfather, Stan, is already in the drug trade himself, which suggests that Liam has had an upbringing around the business.
Do you feel the characters have less chance of success?
Yes. When seeking employment in the future, kids like Liam and Pinball won't have much to write about on their CV's. I would think that Drug dealing is not something to talk about at a job interview. Another thing that my attention was brought to was Liam's life in education. There is little, if any, mention of it and a school uniform in not seen once.
How much does the area you live in lead to criminal activity and how is this explored within the film?
I think that the film displays Liam as part of a low-class family. He is kicked out of his home by Stan and it is only because of his sister that he is not homeless. With his friend Pinball, we first see Liam selling contraband cigarettes in a local pub and are soon kicked out, which suggests a smug, cheap personality. As I see it, Pinball was the only character Liam connected with outside of his family and I felt like he only cared about Chantelle and his Mother (when it comes to family). It is made even clearer that Liam is all that Pinball has when he steals a car, crashes into
Tony's health club, burns the caravan and cuts his face. This is because he feels that Liam is fading away from him into the drug business and that he is being left alone.
How is crime explored within the film?
To begin with, crime appears almost laughable in the film (stealing a policeman's hat). However, when Liam begins selling drugs, we see the emotional and physical effects that it has on him and his family. This begins when Liam is beaten up by a rival gang who steal his gear. Liam does not simply fall down though - He desperately needs his gear back and goes after them, getting even more wounds in the process. This is what upsets his sister, and his mother is upset later when she learns Liam had gained the new apartment by entering the drug trade. Overall, I would say that crime, even if it is for a 'good' cause, does not come without its perils, emotionally and physically.
I would say yes. This is because Liam is desperate to make his mother happy and the film shows that he will do anything to make that happen. The decision to enter the drug trade could be due to a lack of other businesses in the local area or for people at Liam's age (15, 16). Another reason for this direction could be that Liam's stepfather, Stan, is already in the drug trade himself, which suggests that Liam has had an upbringing around the business.
Do you feel the characters have less chance of success?
Yes. When seeking employment in the future, kids like Liam and Pinball won't have much to write about on their CV's. I would think that Drug dealing is not something to talk about at a job interview. Another thing that my attention was brought to was Liam's life in education. There is little, if any, mention of it and a school uniform in not seen once.
How much does the area you live in lead to criminal activity and how is this explored within the film?
- How is family life portrayed within this film, what impact does it have upon the characters? Family values appear to be highly respected. Liam simply wants the best for his Mother and the film shows that he would run through fire for her. However, after a beating by rival dealers, Chantelle, Liam's sister, shows that she is worried about him when nursing his wounds. Liam is devastated when his Mother runs away after a 'welcome home' party to Stan's house - the man who effectively is the reason that she was prison. Liam stabs Stan, possibly because he does not want his mother to go through the same perils as before and end up in prison again. He cares for her.
I think that the film displays Liam as part of a low-class family. He is kicked out of his home by Stan and it is only because of his sister that he is not homeless. With his friend Pinball, we first see Liam selling contraband cigarettes in a local pub and are soon kicked out, which suggests a smug, cheap personality. As I see it, Pinball was the only character Liam connected with outside of his family and I felt like he only cared about Chantelle and his Mother (when it comes to family). It is made even clearer that Liam is all that Pinball has when he steals a car, crashes into
Tony's health club, burns the caravan and cuts his face. This is because he feels that Liam is fading away from him into the drug business and that he is being left alone.
How is crime explored within the film?
To begin with, crime appears almost laughable in the film (stealing a policeman's hat). However, when Liam begins selling drugs, we see the emotional and physical effects that it has on him and his family. This begins when Liam is beaten up by a rival gang who steal his gear. Liam does not simply fall down though - He desperately needs his gear back and goes after them, getting even more wounds in the process. This is what upsets his sister, and his mother is upset later when she learns Liam had gained the new apartment by entering the drug trade. Overall, I would say that crime, even if it is for a 'good' cause, does not come without its perils, emotionally and physically.
Wednesday 17 March 2010
Exhibition Questions
1) Why are there no viable arts/independent cinemas in many areas? Why/how is Southampton able to sustain the Picturehouse (Harbour Lights).
Picturehouse cinemas show films that are programmed to the "response to its local audience". So, if the people of Southampton wanted, say, more action films, that is what they would try and get. However, movie-goers from Brighton might want more romantic films, and that is what they would get as Picture house show films that are tailored to each location's audiences. They are also built particularly in university cites, such as London, Brighton and York - maybe their is more of an audience in such locations, and this could be why independent cinemas are not frequent to every city.
2)What is the relationship between movie going and video/dvd/blu-ray hire/sales?
There is defiantly more convenience to watching films on DVD/blu-ray as it can be done anytime, so long as you own the film. They are so easily commercially available in shops, online and for rental and are far cheaper than cinemas, along with snacks so that the cinema can be 'recreated' at home. This is where rental sales would be generally higher. Many cinemas in the UK had planned to boycott the release of Tim Burton's 'Alice In Wonderland' due to Disney saying that they would bring out the film on DVD after 12 weeks instead of the traditional 17 in an attempt to increase the declining DVD sales.
3) What does the programming of the Sky movie channels and Film Four respectively say about the relationship between pay television, niche marketing and consumer behavior?
Sky movies often run promotional programmes on upcoming films, such as the most recent film in the 'Harry Potter' franchise. their website also shows trailers for films that are soon to be released in cinemas. This hype could draw consumers into thinking that the cinema will be a better experience. This is because a service that offers films for FREE is making such a fuss about something that people will have to pay for. People may not want to wait a few months to see a film for free on a smaller screen - they hype marks a better viewing. Film 4 also produced a lot of 'homegrown' material, such as 'This is England' and has since ran it on their channel.
4) What is the most appropriate response contemporary British cinema can make to Hollywood dominance?
An ideal response here would be something along the lines of 'Producing, Distributing and exhibiting a film that has 100% British financing and has a 100% British cast and crew and release it to huge international success'. However, I think it depends on what audiences that filmmakers are trying to reach - are they trying to reach British audiences or American/international audiences? Hollywood industries have this figured out from an early stage as American culture/humor is well-known across the globe. British culture/humor however, may only appeal to British audiences (wit) and this could be why some British film may not be successful overseas.
5) Should British films be distinctive at the expense of profitability or profitable at the expense of distinctiveness?
British films could be very distinctive and profitable if international companies were to invest in the film's production and marketing. However, this is not always the case. Many successful films may seem 'British' in terms of culture and character, but often the production comes from American/international financing. Examples of this include 'The Full Monty' which was financed by Fox Searchlight, 'Notting Hill' which had production support from Universal, and 'Billy Elliot' which was distributed by UIP, the largest Hollywood distributor in Hollywood. Overall, I think British films should be distinctive, but the filmmakers will have to decide if they want to risk profits or not.
6)Is it possible for British films to be both distinctive and profitable?
Picturehouse cinemas show films that are programmed to the "response to its local audience". So, if the people of Southampton wanted, say, more action films, that is what they would try and get. However, movie-goers from Brighton might want more romantic films, and that is what they would get as Picture house show films that are tailored to each location's audiences. They are also built particularly in university cites, such as London, Brighton and York - maybe their is more of an audience in such locations, and this could be why independent cinemas are not frequent to every city.
2)What is the relationship between movie going and video/dvd/blu-ray hire/sales?
There is defiantly more convenience to watching films on DVD/blu-ray as it can be done anytime, so long as you own the film. They are so easily commercially available in shops, online and for rental and are far cheaper than cinemas, along with snacks so that the cinema can be 'recreated' at home. This is where rental sales would be generally higher. Many cinemas in the UK had planned to boycott the release of Tim Burton's 'Alice In Wonderland' due to Disney saying that they would bring out the film on DVD after 12 weeks instead of the traditional 17 in an attempt to increase the declining DVD sales.
3) What does the programming of the Sky movie channels and Film Four respectively say about the relationship between pay television, niche marketing and consumer behavior?
Sky movies often run promotional programmes on upcoming films, such as the most recent film in the 'Harry Potter' franchise. their website also shows trailers for films that are soon to be released in cinemas. This hype could draw consumers into thinking that the cinema will be a better experience. This is because a service that offers films for FREE is making such a fuss about something that people will have to pay for. People may not want to wait a few months to see a film for free on a smaller screen - they hype marks a better viewing. Film 4 also produced a lot of 'homegrown' material, such as 'This is England' and has since ran it on their channel.
4) What is the most appropriate response contemporary British cinema can make to Hollywood dominance?
An ideal response here would be something along the lines of 'Producing, Distributing and exhibiting a film that has 100% British financing and has a 100% British cast and crew and release it to huge international success'. However, I think it depends on what audiences that filmmakers are trying to reach - are they trying to reach British audiences or American/international audiences? Hollywood industries have this figured out from an early stage as American culture/humor is well-known across the globe. British culture/humor however, may only appeal to British audiences (wit) and this could be why some British film may not be successful overseas.
5) Should British films be distinctive at the expense of profitability or profitable at the expense of distinctiveness?
British films could be very distinctive and profitable if international companies were to invest in the film's production and marketing. However, this is not always the case. Many successful films may seem 'British' in terms of culture and character, but often the production comes from American/international financing. Examples of this include 'The Full Monty' which was financed by Fox Searchlight, 'Notting Hill' which had production support from Universal, and 'Billy Elliot' which was distributed by UIP, the largest Hollywood distributor in Hollywood. Overall, I think British films should be distinctive, but the filmmakers will have to decide if they want to risk profits or not.
6)Is it possible for British films to be both distinctive and profitable?
Sunday 14 March 2010
Distribution Questions
1) How has Hollywood come to dominate world markets?
Many of the top Hollywood studios (Paramount, 20th Century Fox, Universal ect.) Have HQ's not just in the US, but overseas as well - Paramount established itself in the UK and Germany in the 1920's and MGM, Warner Bros and 20th Century Fox opened studios in the UK during the 1930's, building cinemas in key locations such as the West End to screen their films. Cinema chains all over the world have ownership agreements with the studios.
2) Why do i get to see the films I do at the local multiplex?
If a film is produced by say, 20th Century Fox, and a certain cinema has an agreement with the company, is owned by them or they have a financial deal, then we are more likely to see a film produced by them at this particular cinema than anywhere else.
3) Do we get to see the films we want (demand led) or do we see films that are provided for us (supply led) and why?
I would say that more often, we see films that are made for us. This is because the Hollywood industry knows that they'll make money from genres and themes that are proving popular (such as the vampire them set by 'Twilight'). Upon seeing that a theme is popular, Hollywood will want to reproduce and recreate it as much as possible as they know that they'll make money from it. However, a question to ask here is that what makes a certain genre/theme popular?
4) Why are more people going to the cinema today?
I feel that this is due to the way that films are hyped-up so much. Films now get so much promotion that people feel they need to see a film to see what all the fuss is about. Posters appear on buses, billboards ect. and TV spots are in huge numbers. the Star factor is also important to marketing the cinema. By associating big names with the phrase 'in cinemas now' More people are likely to make the trip. Also, with deals like 'Orange Wednesdays' and student offers, the cinema is becoming cheaper, making it easier to get there.
5) look to see whether films hold there positions well in the charts over a few weeks or whether they fall away quickly. What reasons can you come up with to explain this success or failure.
All the hype and word of mouth towards a film can only last prior to the film's release. A film may do well on its opening weekend and take top box office rankings for the next few weeks, but after this time the reviews roll in and tell audiences weather a film is worth seeing or not. Take 'Avatar' as an example. It was number one at the box office around its release time and for a few weeks afterwards. a month or so later, its position went to number 2, slowly to 3, then to 4 ect. and it currently sits at 7.
Many of the top Hollywood studios (Paramount, 20th Century Fox, Universal ect.) Have HQ's not just in the US, but overseas as well - Paramount established itself in the UK and Germany in the 1920's and MGM, Warner Bros and 20th Century Fox opened studios in the UK during the 1930's, building cinemas in key locations such as the West End to screen their films. Cinema chains all over the world have ownership agreements with the studios.
2) Why do i get to see the films I do at the local multiplex?
If a film is produced by say, 20th Century Fox, and a certain cinema has an agreement with the company, is owned by them or they have a financial deal, then we are more likely to see a film produced by them at this particular cinema than anywhere else.
3) Do we get to see the films we want (demand led) or do we see films that are provided for us (supply led) and why?
I would say that more often, we see films that are made for us. This is because the Hollywood industry knows that they'll make money from genres and themes that are proving popular (such as the vampire them set by 'Twilight'). Upon seeing that a theme is popular, Hollywood will want to reproduce and recreate it as much as possible as they know that they'll make money from it. However, a question to ask here is that what makes a certain genre/theme popular?
4) Why are more people going to the cinema today?
I feel that this is due to the way that films are hyped-up so much. Films now get so much promotion that people feel they need to see a film to see what all the fuss is about. Posters appear on buses, billboards ect. and TV spots are in huge numbers. the Star factor is also important to marketing the cinema. By associating big names with the phrase 'in cinemas now' More people are likely to make the trip. Also, with deals like 'Orange Wednesdays' and student offers, the cinema is becoming cheaper, making it easier to get there.
5) look to see whether films hold there positions well in the charts over a few weeks or whether they fall away quickly. What reasons can you come up with to explain this success or failure.
All the hype and word of mouth towards a film can only last prior to the film's release. A film may do well on its opening weekend and take top box office rankings for the next few weeks, but after this time the reviews roll in and tell audiences weather a film is worth seeing or not. Take 'Avatar' as an example. It was number one at the box office around its release time and for a few weeks afterwards. a month or so later, its position went to number 2, slowly to 3, then to 4 ect. and it currently sits at 7.
Thursday 11 March 2010
Production questions
1) How has the status and power of stars changed over cinematic history?
A lot of films now use the stars involved as the main marketing source to the films, drawing attention to their names on promotional posters. Many films are also made as a 'star vehicle' - a method to promote a film with a star who has had the lead role created specifically for them.
2) Take any film you have seen recently and find out who produced it. Then try to find out more about this person. What was their role on this particular production? What have they and others got to say about their involvement and contribution? What projects have they been in previously, were these ventures successful?
'Forgetting Sarah Marshall' Produced by Judd Apatow. Previously, he had produced movies such as 'Anchorman: the Legend of Ron Burgundy', 'Knocked Up' and 'Superbad', all of which had box office success, making a profit in their opening weekends in the US.
3) Why are certain kinds of film guaranteed to make high profits and others high risk?
I think that a lot of this comes down to what genres a filmmaker will decide to use. For example, the disaster/horror genres have to proved recently to be a huge box office success, with films such as 'Dawn of the Dead', making profits at the box office and spawning off many films in this genre, such as 'Land of the Dead'. It is films, I find, that work outside the popular genres, that make it as 'risks'.
4) Which genres are currently popular/unpopular and why?
I feel that popular genres at the moment include comedy, horror and the super-hero theme. This is because many of these films have financial success (e.g. Iron Man) and as a result sequels are created - 'The Dark Knight', 'Resident Evil: Extinction' ect.
5) Why was Hollywood under the studio system so successful?
During the 1910's and 1920's, Hollywood's top studios (Paramount, 20th Century Fox, Warner Bros. ect) Began to emerge. A lot of the time, these companies also had major control over distribution as well as production. Films were being made to a 'reasonable' quality and there were lots of them, so they were able to produce films quickly and market them easily.
6) What has been lost and gained as a result if the replacement of the studio system by the producer/agent/deal system?
I feel that during the studio system, films were being made to the convenience of the studios as they were the dominant force driving the cinema industry at the time, with attention focused on the film titles rather than the star. In more recent times, it is much the other way around. An agent will try to reason with the producer to make it fit the star's needs, rather than being able to create films with ease as the star's were not so vital during the studio system.
7) How and why has Hollywood again become vertically integrated?
During the golden age of Hollywood film, the studios had complete control over production, distribution and exhibition as they realized that this way, they could increase their profits. They could control which cinemas films were released in, which could even mean to companies that were independent of the studios. Why this has happened again could be due to Hollywood re-realizing this and wanting control again, after a period where independent films had the limelight.
8) What are the consequences of vertical integration?
When releasing films to independent exhibitioners, the exhibition companies often don't get to see the film that they are exhibitioning. The risk created here is that the film could easily be a flop and miss out by loads at the box office.
A lot of films now use the stars involved as the main marketing source to the films, drawing attention to their names on promotional posters. Many films are also made as a 'star vehicle' - a method to promote a film with a star who has had the lead role created specifically for them.
2) Take any film you have seen recently and find out who produced it. Then try to find out more about this person. What was their role on this particular production? What have they and others got to say about their involvement and contribution? What projects have they been in previously, were these ventures successful?
'Forgetting Sarah Marshall' Produced by Judd Apatow. Previously, he had produced movies such as 'Anchorman: the Legend of Ron Burgundy', 'Knocked Up' and 'Superbad', all of which had box office success, making a profit in their opening weekends in the US.
3) Why are certain kinds of film guaranteed to make high profits and others high risk?
I think that a lot of this comes down to what genres a filmmaker will decide to use. For example, the disaster/horror genres have to proved recently to be a huge box office success, with films such as 'Dawn of the Dead', making profits at the box office and spawning off many films in this genre, such as 'Land of the Dead'. It is films, I find, that work outside the popular genres, that make it as 'risks'.
4) Which genres are currently popular/unpopular and why?
I feel that popular genres at the moment include comedy, horror and the super-hero theme. This is because many of these films have financial success (e.g. Iron Man) and as a result sequels are created - 'The Dark Knight', 'Resident Evil: Extinction' ect.
5) Why was Hollywood under the studio system so successful?
During the 1910's and 1920's, Hollywood's top studios (Paramount, 20th Century Fox, Warner Bros. ect) Began to emerge. A lot of the time, these companies also had major control over distribution as well as production. Films were being made to a 'reasonable' quality and there were lots of them, so they were able to produce films quickly and market them easily.
6) What has been lost and gained as a result if the replacement of the studio system by the producer/agent/deal system?
I feel that during the studio system, films were being made to the convenience of the studios as they were the dominant force driving the cinema industry at the time, with attention focused on the film titles rather than the star. In more recent times, it is much the other way around. An agent will try to reason with the producer to make it fit the star's needs, rather than being able to create films with ease as the star's were not so vital during the studio system.
7) How and why has Hollywood again become vertically integrated?
During the golden age of Hollywood film, the studios had complete control over production, distribution and exhibition as they realized that this way, they could increase their profits. They could control which cinemas films were released in, which could even mean to companies that were independent of the studios. Why this has happened again could be due to Hollywood re-realizing this and wanting control again, after a period where independent films had the limelight.
8) What are the consequences of vertical integration?
When releasing films to independent exhibitioners, the exhibition companies often don't get to see the film that they are exhibitioning. The risk created here is that the film could easily be a flop and miss out by loads at the box office.
Sunday 7 March 2010
Debate Questions
2) Who are films made for? Do they cater to people's tastes or are they 'safe bets' for the Hollywood Industry?
I will begin with why I think there are films that are 'safe bets' for the Hollywood industry. One factor I will draw attention to is the release dates of certain films, with my key example being the 'Saw' chain of movies. Lets look at the release dates for each of the 'Saw' films so far:
'Saw' - 1st October 2004 (all UK dates)
'Saw II' - 28th October 2005
'Saw III' - 27th October 2006
'Saw IV' - 26 October 2007
'Saw V' - 24 October 2008
'Saw VI' - 23 October 2009
Notice that they as of 'Saw II' the release dates become very near to Halloween. In my opinion, quality of storyline has decreased in each Saw film with too many plot twists, But all films are rather gory, which keeps in theme with Halloween. To me this creates the atmosphere of 'It's nearly Halloween, that must mean its 'Saw' time!' However, the films continue to be successful at the box office ('Saw II' grossed $87,025,093 in the US) , which has most likely provoked so many squeals, with another 'Saw' due later this year.
Also, look at certain partnerships between certain actors and directors e.g. Johnny Depp and Tim Burton. Depp has appeared in a number of Burton's films, including 'Edward Scissorhands', 'Sweeney Todd', 'Charlie and the Chocolate Factory' and 'Alice in Wonderland' where each time Depp portrays a character that could be seen as 'out of the ordinary'. We can apply the same theory to the productions of Judd Apatow, who founded Apatow productions in 1999. Many of the stars in these films have appeared in many of his other films, portraying similar (in terms of stupidity) roles. Some of these stars include:
Seth Rogen - 'Knocked Up', 'Superbad', 'Pineapple Express'
Jason Segal - 'Forgetting Sarah Marshall', 'I Love You, Man'
Will Ferrell - 'Anchorman: the Legend of Ron Burgundy', 'Step Brothers'
Paul Rudd - 'the 40-Year-Old Virgin', 'Forgetting Sarah Marshall', 'I Love You, Man'
Some films tend to have a 'theme' to them, to show that filmmakers have an understanding of what is popular in normal society. For example, the American high-school setting was popular in the 1990's and 2000's, with films such as 'Clueless', 'Mean Girls' and 'Coach Carter' taking the high-school stereotypes e.g. popular kids, jocks, nerds ect. and forming a story out of it.
Nearly every film that I can think of is based on a book/novel ('the Lord of the Rings') , or sometimes historical events ('Titanic') and TV series ('the Simpsons', 'Sex and the City'). This could possible mean that there is no originality to the film industry, but weather that's a bad thing is uncertain. For historic events, filmmakers might think along the lines of 'hmmm... kids won't find this interesting, but if I put this star in it, I could make money!!' and that is how they might chose to market the film. It can be appealing to two audiences - one being the ones interested in history, the others being the ones going crazy for the star.
3) What impact does the appearance of British stars in American films have upon the British films?
So many British stars have found success in big, well-promoted Hollywood films. Some examples include:
Ewan McGregor - 'Star Wars Episode I: The Phantom Menace', 'Moulin Rouge!' and 'The Island'
Christian Bail - 'American Psycho', 'The Dark Knight' and 'Public Enemies'
Keira Knightly - 'Pirates of the Caribbean' saga
Whilst this does a great job in promoting the actors/actresses, there is a sense that the origins of the stars (the UK) has been lost and that they each become just another part in the Hollywood 'for show' section, upon seeing that their film history includes mostly American films. However, this is not necessarily the case for every British import in America - in the last five years, Keira Knightly has appeared in 'Atonement' and 'Pride & Prejudice' both critically successful British films.
The same, I feel, cannot be said about Christian Bail, who's film credit history of the past ten years is nearly all American. Also, because many of these films are financially successful (e.g. 'Batman Begins'), they often lead to sequels ('the Dark Knight') which means an actor/actress will spend more time in Hollywood as filmmakers will be demanding of them to reprise their roles.
However, we do not have to see this as a bad thing. As I mentioned earlier, many of these big American films are often well-promoted, which means that the stars are well-promted. People will begin to recognise the names of the stars, meaning that their names are not easily forgotten. The Hollywood industry could see them in British films and label them as 'fresh talent' and get them a new, wide fanbase. It could also been seen as a compliment to the UK - "that star is very good in that film. We'd like to use him in one of our own films.' 'Why thank you!'. The stars are talented and eye-catching to American filmmakers, so therefore they want them in their films.
The impact of British stars appearing in American films is that it gives the stars a chance to show showcase their talent to a new audience, but it can drive them away from their roots.
I will begin with why I think there are films that are 'safe bets' for the Hollywood industry. One factor I will draw attention to is the release dates of certain films, with my key example being the 'Saw' chain of movies. Lets look at the release dates for each of the 'Saw' films so far:
'Saw' - 1st October 2004 (all UK dates)
'Saw II' - 28th October 2005
'Saw III' - 27th October 2006
'Saw IV' - 26 October 2007
'Saw V' - 24 October 2008
'Saw VI' - 23 October 2009
Notice that they as of 'Saw II' the release dates become very near to Halloween. In my opinion, quality of storyline has decreased in each Saw film with too many plot twists, But all films are rather gory, which keeps in theme with Halloween. To me this creates the atmosphere of 'It's nearly Halloween, that must mean its 'Saw' time!' However, the films continue to be successful at the box office ('Saw II' grossed $87,025,093 in the US) , which has most likely provoked so many squeals, with another 'Saw' due later this year.
Also, look at certain partnerships between certain actors and directors e.g. Johnny Depp and Tim Burton. Depp has appeared in a number of Burton's films, including 'Edward Scissorhands', 'Sweeney Todd', 'Charlie and the Chocolate Factory' and 'Alice in Wonderland' where each time Depp portrays a character that could be seen as 'out of the ordinary'. We can apply the same theory to the productions of Judd Apatow, who founded Apatow productions in 1999. Many of the stars in these films have appeared in many of his other films, portraying similar (in terms of stupidity) roles. Some of these stars include:
Seth Rogen - 'Knocked Up', 'Superbad', 'Pineapple Express'
Jason Segal - 'Forgetting Sarah Marshall', 'I Love You, Man'
Will Ferrell - 'Anchorman: the Legend of Ron Burgundy', 'Step Brothers'
Paul Rudd - 'the 40-Year-Old Virgin', 'Forgetting Sarah Marshall', 'I Love You, Man'
Some films tend to have a 'theme' to them, to show that filmmakers have an understanding of what is popular in normal society. For example, the American high-school setting was popular in the 1990's and 2000's, with films such as 'Clueless', 'Mean Girls' and 'Coach Carter' taking the high-school stereotypes e.g. popular kids, jocks, nerds ect. and forming a story out of it.
Nearly every film that I can think of is based on a book/novel ('the Lord of the Rings') , or sometimes historical events ('Titanic') and TV series ('the Simpsons', 'Sex and the City'). This could possible mean that there is no originality to the film industry, but weather that's a bad thing is uncertain. For historic events, filmmakers might think along the lines of 'hmmm... kids won't find this interesting, but if I put this star in it, I could make money!!' and that is how they might chose to market the film. It can be appealing to two audiences - one being the ones interested in history, the others being the ones going crazy for the star.
3) What impact does the appearance of British stars in American films have upon the British films?
So many British stars have found success in big, well-promoted Hollywood films. Some examples include:
Ewan McGregor - 'Star Wars Episode I: The Phantom Menace', 'Moulin Rouge!' and 'The Island'
Christian Bail - 'American Psycho', 'The Dark Knight' and 'Public Enemies'
Keira Knightly - 'Pirates of the Caribbean' saga
Whilst this does a great job in promoting the actors/actresses, there is a sense that the origins of the stars (the UK) has been lost and that they each become just another part in the Hollywood 'for show' section, upon seeing that their film history includes mostly American films. However, this is not necessarily the case for every British import in America - in the last five years, Keira Knightly has appeared in 'Atonement' and 'Pride & Prejudice' both critically successful British films.
The same, I feel, cannot be said about Christian Bail, who's film credit history of the past ten years is nearly all American. Also, because many of these films are financially successful (e.g. 'Batman Begins'), they often lead to sequels ('the Dark Knight') which means an actor/actress will spend more time in Hollywood as filmmakers will be demanding of them to reprise their roles.
However, we do not have to see this as a bad thing. As I mentioned earlier, many of these big American films are often well-promoted, which means that the stars are well-promted. People will begin to recognise the names of the stars, meaning that their names are not easily forgotten. The Hollywood industry could see them in British films and label them as 'fresh talent' and get them a new, wide fanbase. It could also been seen as a compliment to the UK - "that star is very good in that film. We'd like to use him in one of our own films.' 'Why thank you!'. The stars are talented and eye-catching to American filmmakers, so therefore they want them in their films.
The impact of British stars appearing in American films is that it gives the stars a chance to show showcase their talent to a new audience, but it can drive them away from their roots.
Thursday 4 March 2010
Is Cinema Dead?
In recent years, cinema audiences have declined due to television showings of films becoming much more frequent. One such as example of this are the Sky Movies chain of channels, showing older established films and the more recent ones. For example, why pay to see a film when it is possible to wait for about a year and see it free of charge? Another factor which may be destroying cinema is films on dvd/blu-ray. People may feel that they have to make time for an outing to the cinema, whereas dvd/blu-ray is something so commercially available that people may find it easier to pick it up in their weekly shopping and watch it anytime.
On the other hand, some may argue that watching films on a standard TV set and not on the big screen could be classed as 'missing out' on the cinema experience. When a film is so widely advertised through television, posters on the sides of buses ect. the hype is created, exciting cinema-goers. It could be seen as lazy to wait for months afterwards to see a highly-hyped film, deciding on reviews weather to see it or not instead of taking the risk of spending money to see something.
Another thing that I will draw attention to shall be advertisement towards cinema, as I briefly mentioned above. A film can be marketed in so many ways e.g. TV advertisements, posters, taglines, TV spots, trailers in cinemas, interviews with cast and crew members, Internet and feauttretts on the likes of sky movie channels. It is impossible to avoid the 'in your face' factor that big films have as they will be seen everywhere.
However, in the same manner, DVD's are also marketed in this way, making them just as 'in your face' as the cinema releases. Also, many major films see releases in the USA weeks and months before they set foot in the UK and other countries, leaving them open to be found for free on Internet torrent sites, where they can be watched at any time. Food in cinemas often costs a fortune and many cinema do not allow outside food in their screen rooms, which may encourage audiences to get food 'on the cheap' at shops and snuggle up to a film a home. 2nd hand stores also offer films at much, much cheaper price.
For some films, however, this can be seen as a good thing because if they are unsuccessful at the box office, it doesn't mean that they will continue to be unsuccessful once a DVD/Blu-ray/video format is released. One such example of this is 'Waterworld' (1995). Having a budget of $175,000,000, it was only able to reach a gross of $88,246,220 in the US during its time in cinemas, and even managed to score a Razzie award for worst supporting actor (Dennis Hopper). However, the film went on to do much better once it was released on VHS and DVD.
On the other hand, some may argue that watching films on a standard TV set and not on the big screen could be classed as 'missing out' on the cinema experience. When a film is so widely advertised through television, posters on the sides of buses ect. the hype is created, exciting cinema-goers. It could be seen as lazy to wait for months afterwards to see a highly-hyped film, deciding on reviews weather to see it or not instead of taking the risk of spending money to see something.
Another thing that I will draw attention to shall be advertisement towards cinema, as I briefly mentioned above. A film can be marketed in so many ways e.g. TV advertisements, posters, taglines, TV spots, trailers in cinemas, interviews with cast and crew members, Internet and feauttretts on the likes of sky movie channels. It is impossible to avoid the 'in your face' factor that big films have as they will be seen everywhere.
However, in the same manner, DVD's are also marketed in this way, making them just as 'in your face' as the cinema releases. Also, many major films see releases in the USA weeks and months before they set foot in the UK and other countries, leaving them open to be found for free on Internet torrent sites, where they can be watched at any time. Food in cinemas often costs a fortune and many cinema do not allow outside food in their screen rooms, which may encourage audiences to get food 'on the cheap' at shops and snuggle up to a film a home. 2nd hand stores also offer films at much, much cheaper price.
For some films, however, this can be seen as a good thing because if they are unsuccessful at the box office, it doesn't mean that they will continue to be unsuccessful once a DVD/Blu-ray/video format is released. One such example of this is 'Waterworld' (1995). Having a budget of $175,000,000, it was only able to reach a gross of $88,246,220 in the US during its time in cinemas, and even managed to score a Razzie award for worst supporting actor (Dennis Hopper). However, the film went on to do much better once it was released on VHS and DVD.
Friday 26 February 2010
British Cinema - 'Shaun of the Dead'
Year of release (UK)
the film had its premier in London on 29th March, 2004. It was later released on 9th April, 2004.
International release dates
the film opened in the USA on 24th September, 2004. other international dates included:
Netherlands - 12th August 2004
Australia - 7th October 2004
Spain - 29th October 2004
Czech Republic - 2nd November 2004
Germany - 30th December 2004
Genre
Horror - for its goriness and use of zombies.
Romantic - Shaun being dumped by Liz and the chase to win her back, risking his life for her. She is essentially the heroin of the story while Shaun could be seen as the hero.
Comedy
As well as these genres, I feel that it could also be seen as a parody of typical American zombie horror films. This is because of instead hiding in a big, secure building, such as shopping centre, they chose a pub. Another factor being that Shaun found the word 'zombie' to be ridiculous, and in many American films like 'Dawn of the Dead' they are never directly called zombies.
Prior to the release of the film, a remake of 'Dawn of the Dead' had been released just a few weeks before (USA). British horror film '28 Days Later' had also been released in 2002 along with 'Resident Evil' (2002 USA), so this could have possibly lead the way for the main obstacle for 'Shaun of the Dead' to be zombies. However, in all films like I mentioned above, the word 'zombie' is never used to describe the undead.
Director
the film was directed by Edgar Wright, who had previously worked with Simon Pegg (Shaun) on the TV sitcom 'Spaced'.
Producer
The film was produced by Nira Park, who had also previously worked with Pegg on 'Spaced'.
Executive producers - Tim Bevan, Eric Fellner, Alison Owen, Natascha Wharton, James Wilson
Production companies
the production companies involved were Universal Pictures and Rogue Pictures, both of which are based in California, USA.
Funding
The film was funded by Big Talk Productions and Film 4 International.
Studios
The mostly involved the use of British studios, with Working Title Films, WT2 Productions and Big Talk productions, which are all based in London. Studio Canal was also involved, which is based in Paris, France.
Publicity in the UK
A promotional tour took place to publicize the film.
Marketing with the stars
International stars
A key international star in the film is Dylan Moran, who is famous for his comedy stand-ups and for starring in the sitcom 'Black Books' with Bill Bailey.
Marketing in the UK
International marketing
UK success
The film was a success in the UK both critically and financially. Reviewing the film for the BBC, Nev Perice said that it was a "side-splitting, head-smashing, gloriously gory horror comedy" that will "amuse casual viewers and delight genre fans."
European success
gained a gross of 115, 304 Euros in the Netherlands.
International success
The film was successful financially worldwide, with a total gross of $30,039,392.
Opening weekend UK figures
£1,603,410 - on the 11th April, 2004
Distribution UK/International
the film was distributed by Universal Pictures and Rogue Pictures.
Audience attraction
Many fans of the sitcom 'Spaced' which involved cast members Simon Pegg (Shaun). Nick Frost (Ed), Jessica Hynes (Yvonne) and director Edgar Wright, were called in as zombie extras. This was done through the 'Spaced out' fan website.
the film had its premier in London on 29th March, 2004. It was later released on 9th April, 2004.
International release dates
the film opened in the USA on 24th September, 2004. other international dates included:
Netherlands - 12th August 2004
Australia - 7th October 2004
Spain - 29th October 2004
Czech Republic - 2nd November 2004
Germany - 30th December 2004
Genre
Horror - for its goriness and use of zombies.
Romantic - Shaun being dumped by Liz and the chase to win her back, risking his life for her. She is essentially the heroin of the story while Shaun could be seen as the hero.
Comedy
As well as these genres, I feel that it could also be seen as a parody of typical American zombie horror films. This is because of instead hiding in a big, secure building, such as shopping centre, they chose a pub. Another factor being that Shaun found the word 'zombie' to be ridiculous, and in many American films like 'Dawn of the Dead' they are never directly called zombies.
Prior to the release of the film, a remake of 'Dawn of the Dead' had been released just a few weeks before (USA). British horror film '28 Days Later' had also been released in 2002 along with 'Resident Evil' (2002 USA), so this could have possibly lead the way for the main obstacle for 'Shaun of the Dead' to be zombies. However, in all films like I mentioned above, the word 'zombie' is never used to describe the undead.
Director
the film was directed by Edgar Wright, who had previously worked with Simon Pegg (Shaun) on the TV sitcom 'Spaced'.
Producer
The film was produced by Nira Park, who had also previously worked with Pegg on 'Spaced'.
Executive producers - Tim Bevan, Eric Fellner, Alison Owen, Natascha Wharton, James Wilson
Production companies
the production companies involved were Universal Pictures and Rogue Pictures, both of which are based in California, USA.
Funding
The film was funded by Big Talk Productions and Film 4 International.
Studios
The mostly involved the use of British studios, with Working Title Films, WT2 Productions and Big Talk productions, which are all based in London. Studio Canal was also involved, which is based in Paris, France.
Publicity in the UK
A promotional tour took place to publicize the film.
Marketing with the stars
International stars
A key international star in the film is Dylan Moran, who is famous for his comedy stand-ups and for starring in the sitcom 'Black Books' with Bill Bailey.
Marketing in the UK
International marketing
UK success
The film was a success in the UK both critically and financially. Reviewing the film for the BBC, Nev Perice said that it was a "side-splitting, head-smashing, gloriously gory horror comedy" that will "amuse casual viewers and delight genre fans."
European success
gained a gross of 115, 304 Euros in the Netherlands.
International success
The film was successful financially worldwide, with a total gross of $30,039,392.
Opening weekend UK figures
£1,603,410 - on the 11th April, 2004
Distribution UK/International
the film was distributed by Universal Pictures and Rogue Pictures.
Audience attraction
Many fans of the sitcom 'Spaced' which involved cast members Simon Pegg (Shaun). Nick Frost (Ed), Jessica Hynes (Yvonne) and director Edgar Wright, were called in as zombie extras. This was done through the 'Spaced out' fan website.
Friday 12 February 2010
My comments on 'Babel'
Sound
What I found interesting about the sound in this film was the choice of when music was used. A lot of the music was quite cultural to the different locations, such as the solo acoustic guitar for the scenes in Morocco, the poppy-techno sounds when in Japan and the full band set-up at the wedding in Mexico playing exotic, high-tempo music. There was a mixture of digetic and non-digetic sound. Examples of digetic includes car radio, TV, live band ect. while non-digetic sound involved the overlapping soundtrack of the styles of music that I mentioned above. Another striking moment in terms of sound for me was when the helicopter arrived to rescue the American couple - the soundtrack took over in terms of volume, so whilst the helicopter blades could be seen spinning, they could not be heard, until they lightly started to fade towards the end of the scene.
Cinematography
Throughout the film, I noticed that nearly all of the shots, if not all of them, were hand-held, with no fixed support for the camera. This could be seen by the shakiness of the screen in almost every scene. None the less, there were still an excellent range of shots, from the shot/reverse shot of the American couple at the dinner table, the opening tracking shot and the extremely powerful point-of-view shot from the deaf-mute Japanese girl (in the nightclub, we can tell it's her as the sound suddenly disappears).
Editing
I liked the fact that the editing was used to control the four separate narratives and ultimately bring them together to form the full plot. This was displayed by the sudden cuts to new locations, and further supported by what was going on in the current scene e.g. the Japaneses news show informing viewers of the injured American in Morocco. Eyeline action also took place many times, my favorite points being when the Japanese girl looked over to the boys sat on the table across the room and the Moroccan boys looking down from the mountain to the bus.
Mise-on-scene
As well as the music, costume was also kept quite cultural to each character's nationality. For example, the American middle-class couple with jeans and shirts, the rich Japanese businessman constantly appearing in a suit and the Moroccans dressed in robes ect. Lighting was quite natural throughout, with daytime and night time shots both using natural lighting sources. Dim light was used well in the Moroccan village as it would most likely be dim in those sort of huts, while bright lights re-created the Japanese club scene well. One of the most notable props had to be the rifle because it linked each narrative together, as the did the editing.
What I thought
I liked the fact the music was kept quite cultural to each location and how that all four separate narratives were linked together by the rifle as, to me, it shows how effective props can be in a film. The point-of-view shot from the Japanese deaf-mute girl also proved to be very powerful, showing what its like to experience an action-packed, loud nightclub with no hearing. The multi-narrative element also reminded me somewhat of the film 'Elephant' but with more of a cultural impact. This is defiantly a film that I would recommend to other people.
What I found interesting about the sound in this film was the choice of when music was used. A lot of the music was quite cultural to the different locations, such as the solo acoustic guitar for the scenes in Morocco, the poppy-techno sounds when in Japan and the full band set-up at the wedding in Mexico playing exotic, high-tempo music. There was a mixture of digetic and non-digetic sound. Examples of digetic includes car radio, TV, live band ect. while non-digetic sound involved the overlapping soundtrack of the styles of music that I mentioned above. Another striking moment in terms of sound for me was when the helicopter arrived to rescue the American couple - the soundtrack took over in terms of volume, so whilst the helicopter blades could be seen spinning, they could not be heard, until they lightly started to fade towards the end of the scene.
Cinematography
Throughout the film, I noticed that nearly all of the shots, if not all of them, were hand-held, with no fixed support for the camera. This could be seen by the shakiness of the screen in almost every scene. None the less, there were still an excellent range of shots, from the shot/reverse shot of the American couple at the dinner table, the opening tracking shot and the extremely powerful point-of-view shot from the deaf-mute Japanese girl (in the nightclub, we can tell it's her as the sound suddenly disappears).
Editing
I liked the fact that the editing was used to control the four separate narratives and ultimately bring them together to form the full plot. This was displayed by the sudden cuts to new locations, and further supported by what was going on in the current scene e.g. the Japaneses news show informing viewers of the injured American in Morocco. Eyeline action also took place many times, my favorite points being when the Japanese girl looked over to the boys sat on the table across the room and the Moroccan boys looking down from the mountain to the bus.
Mise-on-scene
As well as the music, costume was also kept quite cultural to each character's nationality. For example, the American middle-class couple with jeans and shirts, the rich Japanese businessman constantly appearing in a suit and the Moroccans dressed in robes ect. Lighting was quite natural throughout, with daytime and night time shots both using natural lighting sources. Dim light was used well in the Moroccan village as it would most likely be dim in those sort of huts, while bright lights re-created the Japanese club scene well. One of the most notable props had to be the rifle because it linked each narrative together, as the did the editing.
What I thought
I liked the fact the music was kept quite cultural to each location and how that all four separate narratives were linked together by the rifle as, to me, it shows how effective props can be in a film. The point-of-view shot from the Japanese deaf-mute girl also proved to be very powerful, showing what its like to experience an action-packed, loud nightclub with no hearing. The multi-narrative element also reminded me somewhat of the film 'Elephant' but with more of a cultural impact. This is defiantly a film that I would recommend to other people.
Friday 5 February 2010
Producers and Audiences (case study) - 'Titanic'
Pre-production and production
Story Source - based on the boat (true story) which sank. Some roles also based on historical characters, such as capt. Edward John Smith (played by Bernard Hill).
Simplification of character and narrative - Jack, pinned down as lower-class hero with good looks, Rose - Heroine (or damsel in distress engaged to Cal) happen to be beautiful. Cal, sharp looks, dark hair, making him the 'villain'. Hero and Heroine win each other, but a tragedy occurs in the end. Pitched as 'Romeo and Juliet on the Titanic'. Russian sub operators held model submarines around the wreck as directed by Cameron.
Cost of the rights to the source - 12 dives needed when shooting the real footage of the Titanic, Deep-sea camera developed by Panavision and Cameron's brother Mike, which could withstand the 400 atmospheres of pressure at that depth. 12 minutes of film only in the deep-sea camera and it took many hours. 1/33 scale model of the ship constructed for rehearsals.
Budget Cost - $200,ooo,ooo, Leonardo DiCaprio was paid $2.5million. Kate Winslet paid just under £1million.
Production companies - Twentieth Century Fox, Paramount Pictures and Lightstorm Entertainment.
Length of shooting schedule - Production started September 1st, 1995. Filming lasted for 160 days (originally planned for 138, but cast members becoming ill with cold, flu and kidney infections meant it was extended).
Part of the set where water first comes rushing through a doorway had to be re-built to withstand a higher pressure as Cameron wanted triple the amount water that was originally intended (40,000 gallons).
Genre - Romantic/Disaster
CGI/Effects - Digital water and smoke were added. extras captured on a motion capture stage. The faces of many actors were scanned, including visual effects supervisor Rob Legato and his children, for the digital extras and stuntmen. There was also a 65-foot (20 m) long model of the ship's stern that could break in two repeatedly, the only miniature to be used in water. For scenes set in the ship's engines, footage of the SS Jeremiah O'Brien engines were composited with miniature support frames and actors shot against greenscreen. To save money, the First Class Lounge was a miniature set incorporated into a greenscreen backdrop. For final plunging scene, full-sized tilting set used, with 150 extras and 100 stuntmen. Cameron criticized previous Titanic films for depicting the final plunge of the liner as sliding gracefully underwater. He "wanted to depict it as the terrifyingly chaotic event that it really was". To carry out the sequence, people were needed to fall off the increasingly tilting deck, plunging hundreds of feet and bouncing off railings and propellers on the way down. "A few attempts to film this sequence with stunt people resulted in some minor injuries and Cameron halted the more dangerous stunts." The risks were eventually minimized "by using computer generated people for the dangerous falls".
Financing - 20th Century fox convinced by Cameron to invest in the film after saying that real footage of the wreck would be good for the movie.
Importance of music - 'My Heart Will Go On' by Celine Dion, iconic to film, music video montage accompanied it. This was secretly composed by Dion, James Horner and Will Jennings after Cameron said that he did not want to included any song in the film, even at the closing credits. The song won an Oscar.
Formal excess - http://www.youtube.com/watch?v=zCy5WQ9S4c0 - Some 'over the top' scenes e.g. Jack slamming into the door, Brock Lovetts's phone stare ect.
The phrase 'I'm the King of the World!' was listed as #4 out of 100 in the greatest movie lines in 2007 by Premiere.
Distribution
Distribution company - Paramount Pictures (USA theatrical release)
Marketing - Posters, trailers and a tagline.
Budget - Around $40million
Publicity - Mainly word of mouth and many featurettes.
Number of countries - released in approx. 65 countries.
Merchandise - Calender, Bottle tops, earphones, puzzles, key rings, cigarette lighters ect.
Exhibition
Date of release - 18th November, 1997 (UK) 14th December, 1997 (USA) London and Los Angeles premieres respectively. 19th December 1997 (USA) 23rd January 1998 (UK).
The original release date was meant to be 25th July, 1997. This was changed for two reasons: one being that production (especially CGI) took longer than anticipated, and the other being that Harrison Ford demanded the date to be moved after finding out that 'Air Force One' was scheduled to be released on the same day. Paramount agreed to this, thinking that if they didn't, Ford would never work with them again.
Number of screens used for opening weekend - 2, 674 (USA) 416 (UK)
Box office taking in opening weekend - $28, 638, 131 (USA)
Length of time in cinemas - 21st December 1997 - 20th September 1998 (final cinema gross)
Releases after theatrical period - VHS, laserdisc (September 1st, 1998) DVD (July 31st, 1999) TV showings. Cameron has also confirmed a 3-D release in cinemas for sometime during 2011.
Extra
Matthew McConaughey was considered for the role of Jack, But Cameron demanded DiCaprio.
Jack Davenport was considered for the role of Cal, but was declared too young.
Rob Lowe was considered for the role of Cal.
Even though Cameron only began with a 165-page outline, both DiCaprio and Winslet committed to the film.
Christian Bale auditioned for the role of Jack, but was declined the part because Cameron didn't want two British actors portraying American characters.
Gwyneth Paltrow also auditioned for the role of Rose but lost out.
Madonna auditioned for the role of Rose.
The film won a total of 11 Oscars:
Best art direction/set decoration -Peter Lamont (art director), Michael Ford (set decorator)
Best cinematography - Russell Carpenter
Best costume design - Deborah Lynn Scott
Best Director - James Cameron
Best effects, sound effects editing - Tom Bellfort, Christopher Boyes
Best effects, visual effects - Robert Legato, Mark. A Lasoff, Thomas. L Fisher, Michael Kanfer
Best film editing - Conrad Buff IV, James Cameron, Richard A. Harris
Best music, original dramatic score - James Horner
Best music, original song - James Horner (music) Will Jennings (lyrics) 'My Heart Will Go On' - Celine Dion
Best Picture - James Cameron, Jon Landau
Best Sound - Gary Rydstorm, Tom Johnson, Gary Summers, Mark Ulano
It was also nominated for:
Best actress in a supporting role
Best actress in a lead role
Best Makeup
It also received wins internationally:
Best foreign feature film (James Cameron) - Amanda awards, Norway
Best foreign film - Awards of the Japanese Academy
Anthony Asquith award for film music (James Horner) - BAFTA's
Bogey award in titanium - Bogey Awards, Germany
Best Soundtack - Brit Awards
Box office award - Czech Lions
Best foreign film (James Cameron) - Cesar awards, France
Film - international (Kate Winslet) - Golden camera, Germany
Story Source - based on the boat (true story) which sank. Some roles also based on historical characters, such as capt. Edward John Smith (played by Bernard Hill).
Simplification of character and narrative - Jack, pinned down as lower-class hero with good looks, Rose - Heroine (or damsel in distress engaged to Cal) happen to be beautiful. Cal, sharp looks, dark hair, making him the 'villain'. Hero and Heroine win each other, but a tragedy occurs in the end. Pitched as 'Romeo and Juliet on the Titanic'. Russian sub operators held model submarines around the wreck as directed by Cameron.
Cost of the rights to the source - 12 dives needed when shooting the real footage of the Titanic, Deep-sea camera developed by Panavision and Cameron's brother Mike, which could withstand the 400 atmospheres of pressure at that depth. 12 minutes of film only in the deep-sea camera and it took many hours. 1/33 scale model of the ship constructed for rehearsals.
Budget Cost - $200,ooo,ooo, Leonardo DiCaprio was paid $2.5million. Kate Winslet paid just under £1million.
Production companies - Twentieth Century Fox, Paramount Pictures and Lightstorm Entertainment.
Length of shooting schedule - Production started September 1st, 1995. Filming lasted for 160 days (originally planned for 138, but cast members becoming ill with cold, flu and kidney infections meant it was extended).
Part of the set where water first comes rushing through a doorway had to be re-built to withstand a higher pressure as Cameron wanted triple the amount water that was originally intended (40,000 gallons).
Genre - Romantic/Disaster
CGI/Effects - Digital water and smoke were added. extras captured on a motion capture stage. The faces of many actors were scanned, including visual effects supervisor Rob Legato and his children, for the digital extras and stuntmen. There was also a 65-foot (20 m) long model of the ship's stern that could break in two repeatedly, the only miniature to be used in water. For scenes set in the ship's engines, footage of the SS Jeremiah O'Brien engines were composited with miniature support frames and actors shot against greenscreen. To save money, the First Class Lounge was a miniature set incorporated into a greenscreen backdrop. For final plunging scene, full-sized tilting set used, with 150 extras and 100 stuntmen. Cameron criticized previous Titanic films for depicting the final plunge of the liner as sliding gracefully underwater. He "wanted to depict it as the terrifyingly chaotic event that it really was". To carry out the sequence, people were needed to fall off the increasingly tilting deck, plunging hundreds of feet and bouncing off railings and propellers on the way down. "A few attempts to film this sequence with stunt people resulted in some minor injuries and Cameron halted the more dangerous stunts." The risks were eventually minimized "by using computer generated people for the dangerous falls".
Financing - 20th Century fox convinced by Cameron to invest in the film after saying that real footage of the wreck would be good for the movie.
Importance of music - 'My Heart Will Go On' by Celine Dion, iconic to film, music video montage accompanied it. This was secretly composed by Dion, James Horner and Will Jennings after Cameron said that he did not want to included any song in the film, even at the closing credits. The song won an Oscar.
Formal excess - http://www.youtube.com/watch?v=zCy5WQ9S4c0 - Some 'over the top' scenes e.g. Jack slamming into the door, Brock Lovetts's phone stare ect.
The phrase 'I'm the King of the World!' was listed as #4 out of 100 in the greatest movie lines in 2007 by Premiere.
Distribution
Distribution company - Paramount Pictures (USA theatrical release)
Marketing - Posters, trailers and a tagline.
Budget - Around $40million
Publicity - Mainly word of mouth and many featurettes.
Number of countries - released in approx. 65 countries.
Merchandise - Calender, Bottle tops, earphones, puzzles, key rings, cigarette lighters ect.
Exhibition
Date of release - 18th November, 1997 (UK) 14th December, 1997 (USA) London and Los Angeles premieres respectively. 19th December 1997 (USA) 23rd January 1998 (UK).
The original release date was meant to be 25th July, 1997. This was changed for two reasons: one being that production (especially CGI) took longer than anticipated, and the other being that Harrison Ford demanded the date to be moved after finding out that 'Air Force One' was scheduled to be released on the same day. Paramount agreed to this, thinking that if they didn't, Ford would never work with them again.
Number of screens used for opening weekend - 2, 674 (USA) 416 (UK)
Box office taking in opening weekend - $28, 638, 131 (USA)
Length of time in cinemas - 21st December 1997 - 20th September 1998 (final cinema gross)
Releases after theatrical period - VHS, laserdisc (September 1st, 1998) DVD (July 31st, 1999) TV showings. Cameron has also confirmed a 3-D release in cinemas for sometime during 2011.
Extra
Matthew McConaughey was considered for the role of Jack, But Cameron demanded DiCaprio.
Jack Davenport was considered for the role of Cal, but was declared too young.
Rob Lowe was considered for the role of Cal.
Even though Cameron only began with a 165-page outline, both DiCaprio and Winslet committed to the film.
Christian Bale auditioned for the role of Jack, but was declined the part because Cameron didn't want two British actors portraying American characters.
Gwyneth Paltrow also auditioned for the role of Rose but lost out.
Madonna auditioned for the role of Rose.
The film won a total of 11 Oscars:
Best art direction/set decoration -Peter Lamont (art director), Michael Ford (set decorator)
Best cinematography - Russell Carpenter
Best costume design - Deborah Lynn Scott
Best Director - James Cameron
Best effects, sound effects editing - Tom Bellfort, Christopher Boyes
Best effects, visual effects - Robert Legato, Mark. A Lasoff, Thomas. L Fisher, Michael Kanfer
Best film editing - Conrad Buff IV, James Cameron, Richard A. Harris
Best music, original dramatic score - James Horner
Best music, original song - James Horner (music) Will Jennings (lyrics) 'My Heart Will Go On' - Celine Dion
Best Picture - James Cameron, Jon Landau
Best Sound - Gary Rydstorm, Tom Johnson, Gary Summers, Mark Ulano
It was also nominated for:
Best actress in a supporting role
Best actress in a lead role
Best Makeup
It also received wins internationally:
Best foreign feature film (James Cameron) - Amanda awards, Norway
Best foreign film - Awards of the Japanese Academy
Anthony Asquith award for film music (James Horner) - BAFTA's
Bogey award in titanium - Bogey Awards, Germany
Best Soundtack - Brit Awards
Box office award - Czech Lions
Best foreign film (James Cameron) - Cesar awards, France
Film - international (Kate Winslet) - Golden camera, Germany
Tuesday 2 February 2010
The high concept model in 'Top Gun'
Post-generic filmmaking
- Although not heavily, this film in my opinion did have the hybrid genre of action-romance - the action coming obviously from the amount of flying and shooting involved, and with the sideline between Maverick and Charlie adds the romance element.
- Tom Cruise's character, Maverick, could easily be pigeonholed as the 'hero' type. This is because he begins with a lot determination, is able to have a romantic interest, face an obstacle (the death of another pilot) and come out the other side as a hero again, with everyone happy for him.
Extended montages
- The song 'Danger Zone' by Kenny Loggins is repeated through moments in the film, mainly during the early flying scenes. It is often used to accompany these selected scenes.
- The soundtrack album to 'Top Gun' can be seen as a huge aide when marketing the film, reaching number 1 in the billlboard 200 in 1986.
http://www.youtube.com/watch?v=Y1a_ikfUico - 'Danger Zone' music video. Notice how the video orientates between clips from the film and of singer Kenny Loggins.
Design reflects advertising style
- A promotional poster that I found for the film contain the tagline 'Up there with the best of the best' which is meant to summarise part the movie's plot - when flying in the top gun academy, you have to be up there with the best pilots.
- The poster is largely dependent on one image of Charlie and Maverick, with a few fighter planes in the background. This is supposed to signify the plot with a just a words and images.
Replicated in Publicity
- Trailers and TV spots involved, with the TV spots lasting for around 30 seconds.
http://www.youtube.com/watch?v=VN8ze3S0Uj8&feature=related - 1986 trailer.
http://www.traileraddict.com/trailer/top-gun/tv-spot-dangerous - various TV spots and trailers
Formal excess
- The camera work during the flying scenes is quite heavy, with many angles being shown and a lot of shots happening quickly. I felt that some of these were not neccesarly linked to the story, but just to show off.
- During the tennis scene at the beach, camera work became slower to capture the expressions on people's faces and the actions that they were doing. Again, I feel that the scene was majorly important, but just over-the-top.
Music interrupts narrative
- During many of the flying scenes, the track 'Danger Zone' is repeated and often accompanies the action of the pilots - by flying, they are entering the danger zone. However, this is also to make these particular shots 'look good' and draw the attention away from the narrative.
- Also, in many of the meeting between Maverick and Charlie, a slow ballad song can be hared each time. The outcome is that it creates its own narrative, accompanying the scene.
Detached appearance of stars
- Val Kilmer (Viper) can be seen doing one if his trademark actions, flipping a pen over his knuckles.
- Director Tony Scott is referenced during the film. One of the desk office characters goes by the name of Scott.
- A reference to Peter Pettigrew (Charlie's older man date) is in the film - Maverick's first name in the film is Pete, whereas in earlier versions of the script it was Even.
Hyperbolic Physiques and action
- Maverick (Tom Cruise) Stars as the centre of hyperbole, with good looks and a muscle-full body.
Ironic distanciation: walking-talking brand
- The line "I feel the need - the need for speed!" was listed as #94 movie quote by the American film industry (out of 100)
- the term 'going ballistic' is now used by pilots for describing any action of the aircraft being put in a vertical or a nearly-vertical climb.
- Sunglasses are worn so much in film that we come to think of them as part of the characters.
- Although not heavily, this film in my opinion did have the hybrid genre of action-romance - the action coming obviously from the amount of flying and shooting involved, and with the sideline between Maverick and Charlie adds the romance element.
- Tom Cruise's character, Maverick, could easily be pigeonholed as the 'hero' type. This is because he begins with a lot determination, is able to have a romantic interest, face an obstacle (the death of another pilot) and come out the other side as a hero again, with everyone happy for him.
Extended montages
- The song 'Danger Zone' by Kenny Loggins is repeated through moments in the film, mainly during the early flying scenes. It is often used to accompany these selected scenes.
- The soundtrack album to 'Top Gun' can be seen as a huge aide when marketing the film, reaching number 1 in the billlboard 200 in 1986.
http://www.youtube.com/watch?v=Y1a_ikfUico - 'Danger Zone' music video. Notice how the video orientates between clips from the film and of singer Kenny Loggins.
Design reflects advertising style
- A promotional poster that I found for the film contain the tagline 'Up there with the best of the best' which is meant to summarise part the movie's plot - when flying in the top gun academy, you have to be up there with the best pilots.
- The poster is largely dependent on one image of Charlie and Maverick, with a few fighter planes in the background. This is supposed to signify the plot with a just a words and images.
Replicated in Publicity
- Trailers and TV spots involved, with the TV spots lasting for around 30 seconds.
http://www.youtube.com/watch?v=VN8ze3S0Uj8&feature=related - 1986 trailer.
http://www.traileraddict.com/trailer/top-gun/tv-spot-dangerous - various TV spots and trailers
Formal excess
- The camera work during the flying scenes is quite heavy, with many angles being shown and a lot of shots happening quickly. I felt that some of these were not neccesarly linked to the story, but just to show off.
- During the tennis scene at the beach, camera work became slower to capture the expressions on people's faces and the actions that they were doing. Again, I feel that the scene was majorly important, but just over-the-top.
Music interrupts narrative
- During many of the flying scenes, the track 'Danger Zone' is repeated and often accompanies the action of the pilots - by flying, they are entering the danger zone. However, this is also to make these particular shots 'look good' and draw the attention away from the narrative.
- Also, in many of the meeting between Maverick and Charlie, a slow ballad song can be hared each time. The outcome is that it creates its own narrative, accompanying the scene.
Self-conscious allusion to films and TV - During its first release onto VHS, the film had a feature that included a pilot-themed advert for diet Pepsi.
Detached appearance of stars
- Val Kilmer (Viper) can be seen doing one if his trademark actions, flipping a pen over his knuckles.
- Director Tony Scott is referenced during the film. One of the desk office characters goes by the name of Scott.
- A reference to Peter Pettigrew (Charlie's older man date) is in the film - Maverick's first name in the film is Pete, whereas in earlier versions of the script it was Even.
Hyperbolic Physiques and action
- Maverick (Tom Cruise) Stars as the centre of hyperbole, with good looks and a muscle-full body.
Ironic distanciation: walking-talking brand
- The line "I feel the need - the need for speed!" was listed as #94 movie quote by the American film industry (out of 100)
- the term 'going ballistic' is now used by pilots for describing any action of the aircraft being put in a vertical or a nearly-vertical climb.
- Sunglasses are worn so much in film that we come to think of them as part of the characters.
Friday 22 January 2010
The High Concept
Described in Wyatt (1994) as an academic model represented with a formula of ten-points, film scholars use the high concept when attempting to explain how big budget films are conceptualised by Hollywood.
while the term 'high concept' however, is used in Hollywood, producers do not keep a checklist to make sure that everything is in order - many of them have no clue about Wyatt and his book. Instead, they have 'internalised' what makes a Hollywood film a success. Not every high concept movie stays true to all of the formula points. Academic models and film industry business practice are not to be confused.
In trade papers, writers use the term 'high concept' fairly loosely to describe industry practices as a shorthand. 'Buzz words' are the circulation of new business ideas and references to examples of success. This is one way of how institutions work to have new industry practices developed.
The High Concept Model
1. A style of 'Post-generic' film making based on the simplification of character and narrative.
2. Use of extended montages, which are in effective pop videos.
3. Production design reflects the graphics frequently, glossy look and layout of contemporary advertising styles.
4. Scenes are easily replicated in trailers, televisions commercials or publicity stills.
5. Formal excess (not in a melodramatic sense).
6. Music track interrupts the narrative of the film for a separate performance.
7. Self-conscious allusion to other films and television.
8. 'Detached' appearances of stars, similar to 'guest stars' in a television series'.
9. Hyperbolic physiques of protagonists and hyperbolic action.
10. Ironic Distanciation: walking-talking brand.
1. 'Post-generic' filmmaking
'post-generic' is often the term used for a modern Hollywood production because of the preponderance of hybrid genres in Hollywood production - producing something new by combining two or more traditional genres together. While this is not a new idea, writer Rick Altman (1999) has showcased that even 'classical' Hollywood in the 1930's marketed a film by pointing out the fact that it could belong to more than one genre, it is now used almost to to the exclusion of 'straight' movie genres. As 'genre' has always been a loose term in the film industry, we have to be careful here, whereas academics have attempted to be more precise. Perhaps the criteria audiences use when selecting what films to watch is where the important distinction is found.
When advertised in early 1998, Columbia Tristar's slate of 18 films included comedy drama, romantic comedy, futuristic thriller, action drama, action thriller, romantic adventure, action adventure, comedy satire, comedy thriller and romantic comedy-drama. There is a lack of traditional 'pure-genres' such as gangsta, musical, western ect. Even science fiction is now more likely to be called 'futuristic thriller'. The emotional effects that films have is what the industry terms refer more to generally - weather they make audiences cry, laugh or be afraid. These hybrids place a stress on a double appeal to action and 'relationships' - the traditional belief that men are more interested in action and that females are more interested in the relationships (comedy, romance, drama).
The strengths and weaknesses of these hybrids can be identified in two Will Smith films. 'Men in Black' (1997) was a comedy/science fiction hybrid, which grabbed the attention of a huge audience, including that of the science fiction comic book fan base as it was considered to be stylish and, at the same time, genuinely funny - a more general audience. 'Wild Wild West' (1999), on the other hand, was a comedy Western made by the same team, did not please the western fan base as much and it was seen as being not so funny. The lesson here may be that audiences have not lost interest in the thrills of genres - they may just interpret them in different ways.
Only horror films, 'teen' comedies and martial arts films, in recent years, have foregrounded their generic roots. All have grown a strong 'tongue in cheek' and 'teen and horror' and have been joined by a hybrid. The 'Scream' series parodied these genres in a post-modern fashion, which was followed by Dimension Films creating a spoof of the spoofs, 'Scary Movie'. Even though writer Steve Neale has made it clear that explicit allusions to to other films were a feature of Hollywood during the 1930's, this did not provide the foundations for the entire film.
This stripped-down narrative plus post-generic characteristics are part of what defines the high concept movie and is the simplification of character. This leads us up to the types that are, once more, not something unique to 'modern' Hollywood cinema. in the high concept film, however, this is used to an extreme level where the character exposition is not used and the protagonist can rapidly be 'pigeonholed' by audiences. in 'The Bodygaurd' (1992) Kevin Costner's 'one-note' performance of stoic, dedicated, masculinity does not varie. The premise of high concept movies are often so simple that a text has to indicate that it is not taking itself seriously or else audiences will feel as if they are being spoken to as if they were children.
For this simplification to work, casting is crucial: Rather than for their acting abilities, supporting characters are selected for their appearance. These looks range from the 'good' to the 'bad' - in conventional terms, the latter is being held on to for the the part of the villain and his/her henchman. While 'bad' is not necessarily relating to 'ugly' it could be represented by sharp features , a slightly podgy face or even a reddened visage that tells an audience 'too much boozing' . On the other hand, the 'clean cut' are often regarded as being positive - For example, if a character is called Ben, then it's 'odds on' that he will be a 'fount of wisdom'!
Ideally, it should only take three sentences or less and no more than twenty-five words to pitch a high-concept movie. This was satirised in the opening of 'The Player' (1992) where producers were pitching movies as combinations of other films e.g. 'Out of Africa meets Pretty Woman'. The pitches then get further compressed into the tagline. 'The Bodygaurd''s is 'Never let her out of your sight. Never let your guard down. Never fall in love.' The macho-elements and the romance of the film are captured in sixteen words.
Narrative is de-emphasized by this simplification, making it a vehicle for the film's other enjoyments. This allows tie-in products, which have no obligation to preserve the narrative line of the 'original' against the clear economic benefits of multiplication, which secures the range of the product in the market place and encourages repeated viewings.
while the term 'high concept' however, is used in Hollywood, producers do not keep a checklist to make sure that everything is in order - many of them have no clue about Wyatt and his book. Instead, they have 'internalised' what makes a Hollywood film a success. Not every high concept movie stays true to all of the formula points. Academic models and film industry business practice are not to be confused.
In trade papers, writers use the term 'high concept' fairly loosely to describe industry practices as a shorthand. 'Buzz words' are the circulation of new business ideas and references to examples of success. This is one way of how institutions work to have new industry practices developed.
The High Concept Model
1. A style of 'Post-generic' film making based on the simplification of character and narrative.
2. Use of extended montages, which are in effective pop videos.
3. Production design reflects the graphics frequently, glossy look and layout of contemporary advertising styles.
4. Scenes are easily replicated in trailers, televisions commercials or publicity stills.
5. Formal excess (not in a melodramatic sense).
6. Music track interrupts the narrative of the film for a separate performance.
7. Self-conscious allusion to other films and television.
8. 'Detached' appearances of stars, similar to 'guest stars' in a television series'.
9. Hyperbolic physiques of protagonists and hyperbolic action.
10. Ironic Distanciation: walking-talking brand.
1. 'Post-generic' filmmaking
'post-generic' is often the term used for a modern Hollywood production because of the preponderance of hybrid genres in Hollywood production - producing something new by combining two or more traditional genres together. While this is not a new idea, writer Rick Altman (1999) has showcased that even 'classical' Hollywood in the 1930's marketed a film by pointing out the fact that it could belong to more than one genre, it is now used almost to to the exclusion of 'straight' movie genres. As 'genre' has always been a loose term in the film industry, we have to be careful here, whereas academics have attempted to be more precise. Perhaps the criteria audiences use when selecting what films to watch is where the important distinction is found.
When advertised in early 1998, Columbia Tristar's slate of 18 films included comedy drama, romantic comedy, futuristic thriller, action drama, action thriller, romantic adventure, action adventure, comedy satire, comedy thriller and romantic comedy-drama. There is a lack of traditional 'pure-genres' such as gangsta, musical, western ect. Even science fiction is now more likely to be called 'futuristic thriller'. The emotional effects that films have is what the industry terms refer more to generally - weather they make audiences cry, laugh or be afraid. These hybrids place a stress on a double appeal to action and 'relationships' - the traditional belief that men are more interested in action and that females are more interested in the relationships (comedy, romance, drama).
The strengths and weaknesses of these hybrids can be identified in two Will Smith films. 'Men in Black' (1997) was a comedy/science fiction hybrid, which grabbed the attention of a huge audience, including that of the science fiction comic book fan base as it was considered to be stylish and, at the same time, genuinely funny - a more general audience. 'Wild Wild West' (1999), on the other hand, was a comedy Western made by the same team, did not please the western fan base as much and it was seen as being not so funny. The lesson here may be that audiences have not lost interest in the thrills of genres - they may just interpret them in different ways.
Only horror films, 'teen' comedies and martial arts films, in recent years, have foregrounded their generic roots. All have grown a strong 'tongue in cheek' and 'teen and horror' and have been joined by a hybrid. The 'Scream' series parodied these genres in a post-modern fashion, which was followed by Dimension Films creating a spoof of the spoofs, 'Scary Movie'. Even though writer Steve Neale has made it clear that explicit allusions to to other films were a feature of Hollywood during the 1930's, this did not provide the foundations for the entire film.
This stripped-down narrative plus post-generic characteristics are part of what defines the high concept movie and is the simplification of character. This leads us up to the types that are, once more, not something unique to 'modern' Hollywood cinema. in the high concept film, however, this is used to an extreme level where the character exposition is not used and the protagonist can rapidly be 'pigeonholed' by audiences. in 'The Bodygaurd' (1992) Kevin Costner's 'one-note' performance of stoic, dedicated, masculinity does not varie. The premise of high concept movies are often so simple that a text has to indicate that it is not taking itself seriously or else audiences will feel as if they are being spoken to as if they were children.
For this simplification to work, casting is crucial: Rather than for their acting abilities, supporting characters are selected for their appearance. These looks range from the 'good' to the 'bad' - in conventional terms, the latter is being held on to for the the part of the villain and his/her henchman. While 'bad' is not necessarily relating to 'ugly' it could be represented by sharp features , a slightly podgy face or even a reddened visage that tells an audience 'too much boozing' . On the other hand, the 'clean cut' are often regarded as being positive - For example, if a character is called Ben, then it's 'odds on' that he will be a 'fount of wisdom'!
Ideally, it should only take three sentences or less and no more than twenty-five words to pitch a high-concept movie. This was satirised in the opening of 'The Player' (1992) where producers were pitching movies as combinations of other films e.g. 'Out of Africa meets Pretty Woman'. The pitches then get further compressed into the tagline. 'The Bodygaurd''s is 'Never let her out of your sight. Never let your guard down. Never fall in love.' The macho-elements and the romance of the film are captured in sixteen words.
Narrative is de-emphasized by this simplification, making it a vehicle for the film's other enjoyments. This allows tie-in products, which have no obligation to preserve the narrative line of the 'original' against the clear economic benefits of multiplication, which secures the range of the product in the market place and encourages repeated viewings.
Thursday 21 January 2010
'Post-generic' filmaking - research
What makes you want to see a film?
When thinking about what film to see, I mainly consider the stars and the storyline. For example, with 'Tropic Thunder' I noticed that the cast involved Ben Stiller, Jack Black and Robert Downey Jr, who have all been in films that I have enjoyed (e.g. 'Zoolander', 'School of Rock', 'Iron-Man'). Therefore I was curious to see a film with all of them in it together. Trailers also help when deciding what film to see as they help me get a rough idea of what the film could be about and what sort of topics it covers. Genre isn't really a huge concern, If I think the trailer looks good then I'll be interested to see it. - Me
When thinking about what film to see, I mainly consider the stars and the storyline. For example, with 'Tropic Thunder' I noticed that the cast involved Ben Stiller, Jack Black and Robert Downey Jr, who have all been in films that I have enjoyed (e.g. 'Zoolander', 'School of Rock', 'Iron-Man'). Therefore I was curious to see a film with all of them in it together. Trailers also help when deciding what film to see as they help me get a rough idea of what the film could be about and what sort of topics it covers. Genre isn't really a huge concern, If I think the trailer looks good then I'll be interested to see it. - Me
When I pick a film I have usually seen a trailer for it when I have been at the cinema watching a different film. I focus mainly on what the storyline is for example I don't really enjoy sci fi films so would generally avoid them but if the stroyline appears interesting in a trailer then it could draw me in and make me want to watch it. I ask other people's opinions on a film before I see them and this sometimes makes me want to see the film even more and sometimes puts me off it. Most of the time I don't really mind about who is starring in the film for example Avatar didn't have any actors I had heard of in it but I wanted to see it because of the reviews and becasuse I liked the look of it and was interested in the effects that were used. If I have seen a film and enjoyed it I usually want to see the sequel if there is one so that is also a factor in choosing a film. If an actor who I have seen in other films and enjoyed was starring in a film it would make me want to see it. Also when a book that I have read is turned into a film I usually go and see it to see if it is as good as the book. - Meg
Friday 15 January 2010
Presentation Research - US & UK films
Moon (UK)
Production
Studio: Stage 6 films
Budget of $5million, Director Duncan Jones decided there were no 'on-location' shots and the cast was kept small to control the budget. Filming took only 33 days.
When interviewed about the budget, Jones said
"Up front, we decided that we weren't going to go on any location shoots. We wanted to have completely controlled shooting environments, so we did everything on soundstages. We basically had two soundstages, one which was for the interior of the moon base, which we built in its entirety and which was another attempt to create a believable location space and also to save us some space, since a lot of our lighting was pre-existing within the set build. So our cinematographer only had a very small lighting kit that he had to carry around with him around the base. Most of the lighting was actually built into the base."
Models used instead of animation.
Written specifically for Sam Rockwell.
Reception
"Though it uses impressive sci-fi trappings to tell its story — the fabulous models and moonscapes are recognisably retro yet surprisingly real — this is a film about what it means, and takes, to be human, which is where Rockwell excels in a poignant performance. But Jones deserves credit too, and after keeping impressively off the radar in an era saturated with celebrity offspring, his thoughtful Moon is a good place for his career to start, providing a visually smart calling card while making some deceptively clever comments about mankind's obsession with personality." - The Times Online
89% 'Fresh Rating on Rotten Tomatoes, based on 156 reviews.
$7,191,615 - Worldwide Gross at Box Office.
Sherlock Holmes (US)
Production
Studio: Silver Pictures, Village Roadshow Pictures
Budget of $90million
Merchandise mainly in competitions, no direct sales.
Production
Studio: Stage 6 films
Budget of $5million, Director Duncan Jones decided there were no 'on-location' shots and the cast was kept small to control the budget. Filming took only 33 days.
When interviewed about the budget, Jones said
"Up front, we decided that we weren't going to go on any location shoots. We wanted to have completely controlled shooting environments, so we did everything on soundstages. We basically had two soundstages, one which was for the interior of the moon base, which we built in its entirety and which was another attempt to create a believable location space and also to save us some space, since a lot of our lighting was pre-existing within the set build. So our cinematographer only had a very small lighting kit that he had to carry around with him around the base. Most of the lighting was actually built into the base."
Models used instead of animation.
Written specifically for Sam Rockwell.
Reception
"Though it uses impressive sci-fi trappings to tell its story — the fabulous models and moonscapes are recognisably retro yet surprisingly real — this is a film about what it means, and takes, to be human, which is where Rockwell excels in a poignant performance. But Jones deserves credit too, and after keeping impressively off the radar in an era saturated with celebrity offspring, his thoughtful Moon is a good place for his career to start, providing a visually smart calling card while making some deceptively clever comments about mankind's obsession with personality." - The Times Online
89% 'Fresh Rating on Rotten Tomatoes, based on 156 reviews.
$7,191,615 - Worldwide Gross at Box Office.
Sherlock Holmes (US)
Production
Studio: Silver Pictures, Village Roadshow Pictures
Budget of $90million
Merchandise mainly in competitions, no direct sales.
Tuesday 12 January 2010
Hollywood Machine
General Facts
For every 10 productions in Hollywood, 6 of them end up not being successfully made.
- At the box office, one of the successful 4 'breaks even' in terms of finance, whilst the other do 'good', 'amazingly good' and 'exceptionally amazingly spectacular'
To be successful, a movie must earn 3 times of what it cost to make.
'Titanic' had one of the most out of control budgets in Hollywood film-making to date, with the cost of the movie being around $150million at one stage.
Due to the film receiving negative comments at one its early screenings, 'Dr.Dolittle' used popular comedians, such as Chris Rock, as the voices of the animals.
When early snapshots of Wolverine appeared during the production stages of 'X-Men' it received criticism from fans of the comic book series due to the costume appearing differently.
While 'Gladiator' was still in its production stages, a member of the cast (Oliver Reed) died. which meant some of his scenes had to be re-written in order to fit with the story.
Russel Crow, the lead actor in 'Gladiator' grow so unhappy with one of the film's writers and forced them to quit.
'Scream' was intended to be a cliche of horror movies, but during a preview screening Some members of the production team said that they thought the mask used looked 'stupid'.
For every 10 productions in Hollywood, 6 of them end up not being successfully made.
- At the box office, one of the successful 4 'breaks even' in terms of finance, whilst the other do 'good', 'amazingly good' and 'exceptionally amazingly spectacular'
To be successful, a movie must earn 3 times of what it cost to make.
'Titanic' had one of the most out of control budgets in Hollywood film-making to date, with the cost of the movie being around $150million at one stage.
Due to the film receiving negative comments at one its early screenings, 'Dr.Dolittle' used popular comedians, such as Chris Rock, as the voices of the animals.
When early snapshots of Wolverine appeared during the production stages of 'X-Men' it received criticism from fans of the comic book series due to the costume appearing differently.
While 'Gladiator' was still in its production stages, a member of the cast (Oliver Reed) died. which meant some of his scenes had to be re-written in order to fit with the story.
Russel Crow, the lead actor in 'Gladiator' grow so unhappy with one of the film's writers and forced them to quit.
'Scream' was intended to be a cliche of horror movies, but during a preview screening Some members of the production team said that they thought the mask used looked 'stupid'.
Script
While it was in its early production stages, the team behind 'Tomb Raider' found writing the script to be difficult due to a lack of resources, which meant many drafts were dismissed. The director decided to write the script himself.
The writing team behind 'There's Something About Mary' were afraid that the film would offend audiences - due to rudeness of some parts.
During a test screening for 'Tomb Raider', viewers were given a questionnaire to take whilst watching it so the production team could try and make the film better before marketing it.
it is a common process for a film to have new scenes added in after negative responses from a test screening.
Marketing
Most films begin with a poster when marketing is concerned.
'Hannibal' was mainly controlled by the director when the poster was being crafted. The film went on to take $300million at the box office.
Actors and actresses often give films extra publicity.
'Spy Kids' collaborated with fast food restaurant M'cdonalds by including toys in the kids meals for marketing the film. It went on to take £144million at the box office.
When the opening weekend of a movie is a success, it can often mark the start of an international campaign.
- in the US, a box office claim of $30million or more means a movie is a success.
-80% of the box office profit goes to the studios at this time.
While it was in its early production stages, the team behind 'Tomb Raider' found writing the script to be difficult due to a lack of resources, which meant many drafts were dismissed. The director decided to write the script himself.
The writing team behind 'There's Something About Mary' were afraid that the film would offend audiences - due to rudeness of some parts.
During a test screening for 'Tomb Raider', viewers were given a questionnaire to take whilst watching it so the production team could try and make the film better before marketing it.
it is a common process for a film to have new scenes added in after negative responses from a test screening.
Marketing
Most films begin with a poster when marketing is concerned.
'Hannibal' was mainly controlled by the director when the poster was being crafted. The film went on to take $300million at the box office.
Actors and actresses often give films extra publicity.
'Spy Kids' collaborated with fast food restaurant M'cdonalds by including toys in the kids meals for marketing the film. It went on to take £144million at the box office.
When the opening weekend of a movie is a success, it can often mark the start of an international campaign.
- in the US, a box office claim of $30million or more means a movie is a success.
-80% of the box office profit goes to the studios at this time.
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