Film Studies Production Evaluation

Now that I have completed Unit 11- Film Studies; looking back I believe that there were three areas that I should have worked on to improve the quality of my work for this unit.
One aspect I should have conducted differently is perhaps working as part of a team of three/four members. However, I decided to work on my production individually as this ensured I would have full creative control. The drawback of this method was that I had to handle the whole workload by myself. This slowed down the process of filming, editing, planning, etc. If I was given re-do this task, I would draft myself into a group, working on the editing aspect of the production as this is where I believe I was strongest.
Another aspect that would be conducted differently is spending more time on my production. Starting on my production late hindered the amount of time I was able to spend on it, and isolating myself by working individually did not help to rectify this shortcoming. The production feels a bit rushed because I was unable to spend as much time on it as I would have hoped.
The last aspect I would improve if given the chance to re-do this assignment is focusing on one  psychoanalysis theory to apply to my film production instead of trying to apply all three. Next time I would focus on Mulvey's 'Male Gaze' theory as I feel I had a better understanding of this theory than the Freudian and Lacanian Psychoanalysis Theories.

Lacanian Psychoanalysis in Film

One example of the Lacanian Psychoanalysis theory being present in the film industry occurs in Christopher Nolan's Golden Globe Best Screenplay-Motion Picture nominated film; Memento.
In the film Memento, the main protagonist; Leonard Shelby, diagnosed with a memory condition, is unable to remember new information and so must progress through his life using stimulus notes he writes himself. is wife; raped and murdered by an unknown assailant he cannot remember the identity of. Discovering the person responsible becomes his drive throughout the film.

This relates to the Lacanian Psychoanalysis theory because, just as Lacan had previously suggested, Leonard feels he is missing something and achieving this seemingly impossible fantasy becomes his motivation and drive. Camera shots are frequently used to signify Leonard's state of mind as well as the use of a non-diegetic voiceover narrative. Structurally the narrative has 2 parts: B&W sequences to show the past and colour to represent the present. This would allow a Lacanian approach to be applied as it is literally being used to show a 'lack' - a memory that has to be recalled. The non-diegetic voiceover allows the viewer to get in touch with Leonard trying to remember what occurred in his past, on a daily basis.  

One scene in which this is evident is when Leonard finds himself in a isolated location, prior to killing Jimmy; Natalie's drug dealer boyfriend. It is here that the film draws clear comparison to the Lacanian Psychoanalysis theory. Jimmy calls Leonard "Sammy", which causes Leonard to become suspicious. This results in Teddy telling Leonard that they killed the man he was searching for; John G, time ago, and that he has been using him to eliminate drug dealers, tricking him for financial gains, using his memory condition to 'give him a reason to live'. However, Leonard later finds out the man he is searching for, has been himself the whole time.

Freudian Psychoanalysis in Film

One example of the Freudian Psychoanalysis theory being present in film occurs in Season 5 Episode 23 of 'The Fresh Prince of Bel-Air' (1990-1996), directed by Shelley Jensen. Will, currently engaged to his fiancé; Lisa, finds himself caught in a dilemma when he attracts the attention of a provocative young woman; Denise, who is determined to be his romantic interest.

In this instance, Will's ego drives him to fulfil his primitive wishes, this being engaging in intercourse, however it also motivates him to achieve this in a socially-acceptable manner, suggesting he should stay faithful to Lisa. Will's super-ego demands that he adheres to his moral compass, instilled into him by a same-sex role model; being Uncle Phil. This causes an inner conflict that is clearly evident to the audience through camera and lighting techniques. The first of these occurs around 1 minute 27 seconds when Will sympathises with a 'crying' Denise. Post revealing that this was a trick and kissing Will, Will's super-ego demands he leaves, which he initially attempts to do, however he is until Denise is able to seduce him back into his seat. The medium close-ups and the shot reverse shot editing techniques here signifies the relationship between the couple. Subtleties in the performance of each character also reveal the true aspects of their personalities - as Will's true desires can be viewed in his quick glances and flirting towards Denise.

At minute 2, 19 seconds in, Denise begins caressing Will with her kisses, Will begins to flirt back, which leads Denise to ask "I knew I could make you forget about your fiancé". Will denies that anyone could ever make him forget about his fiancé however, too captivated in the moment, calls her Lucy. At 3 minutes and 16 seconds, just as Denise looks to close the deal, Will conscious allows for him to reject Denise's advances. Will's Eros (life-sustaining) defeats his Thanatos (destructive forces).

Mulvey's Male Gaze in Film

An example of Mulvey's male gaze theory in practise, is evident in Quentin Tarantino's critically acclaimed film; 'Sin City' (2005). Jessica Alba's character; Nancy, is the focus of male attention, due to the manner in which she is presented. Nancy is objectified through various camera and lighting techniques, dialogue, etc.

One way in which the male gaze occurs 20 seconds into the scene. A panning mid-shot, following the derriere of a faceless woman is utilised to position the audience in the shoes of a heterosexual man. Within this particular instance I believe that the woman's face is not revealed because it is not required to attract sexual focus, thus the woman is objectified to achieve the male gaze. The shots throughout the sequence remain medium close-ups, these focus on Nancy's torso gyrating to the music and then tilting up and down her body to replicate the gaze of the male. The shots of Nancy are also intercut with close-ups of the male character's faces as they stare at her whilst she is dancing.  

Another instance of objectification in this scene, occurs when Nancy is first introduced into the scene. Nancy's body is fragmented through edge/rim lighting, to emphasise her provocative prowess.
Firstly, the camera pans over her upper legs/thigh region, revealing the tight leather attire she is clothed in.

High-key edge/rim lighting is implemented to draw Nancy's character away from the background; attracting further attention to her sexual appeal, whilst simultaneously satisfying the male gaze.
Tarantino aslo utilises slow motion shots within this film. at 52 seconds. In between thrusts, Nancy's dance is slowed down. Usually in film in conjunction to the male gaze, this technique is used to allow the audience addition time in which to be enchanted.

Nancy is objectified as she is portrayed as an erotic object, who's purpose is only to satisfy the sexual fantasies of characters in the narrative, and the audience.

Lacanian Psychoanalysis

The Lacanian Psychoanalysis theory is a term coined from renown, French psychoanalyst; Jacques Lacan. Lacan conducted research into the theory 'Freudian Psychoanalysis', focusing largely on the deep structures and infant sexuality aspects of Freud's work, later publishing his own updated interpretation on Freud theory.

Lacan suggested that during the ages ranging between six and eighteen months, the infant experienced the 'Mirror Phase'. During the mirror phase the child sees its own reflection; generally in a mirror, and somehow realises that what they are seeing is themselves. Lacan believed that an infant's ability to identify with their reflection, is a factor behind the infant's emerging perceptions of selfhood. However, due to the fact that the infant's overestimation of their strengths projected to them by their reflection; creating a 'perfect image' interpretation of themselves, does not match with their real life physical vulnerabilities and limitations, the child struggles with their first identity crisis.
This 'perfect image' causes envy and dislike as the child can never truly aspire to the 'hyped-up' fantasy. A sense of separation occurs due to the child taking in the reflection and looking at its actual self. The infant contrasts what it is, with what it sees in the 'ego ideal', later casting itself as inferior. This further agitates the difference between the two and cements the trauma of self-loathing and the desire to become this unattainable fantasy.

The child's reflections deceives them. One way is that the reflection does not reflect the child's feelings, causing further confusion in the child as this reflection does not represent their emotional vulnerabilities. The reflection also fails to highlight the child's lack of independence. In the mirror, the child stands as its own entity, falsely projecting independence the infant does not yet have.
The motivation to feel connected with this ego-ideal, represents a tension between non-identity and identity; one may argue that this draws comparison to Freud's life and death drive theory.
Lacan believed that the child would continue to progress, eventually reaching a stage where this ego-ideal emerges as a 'unconscious construction'. Lacan called this the 'hommelette'. Lacan then suggests that even in adulthood, discomfort can be brought around by thinking of themselves as 'whole individuals'. Self-imagination continues throughout their lives, contributing to a narcissistic fascination, or discomfort from the thoughts that 'this ego-ideal still does not look like me'.

Freudian Psychoanalysis

The Freudian Psychoanalysis theory is a term coined from renown, Austrian neurologist; Sigmund Freud. Freud outlines that the evolution of our civilisation, is the culprit as to our continuous repression of our basic human instincts.

Within this theory, Sigmund Freud uses utilises the analogy of a iceberg to describe the three factions of the mind. Freud compares the surface of an iceberg to the conscious aspect of the mind. Freud describes that the conscious mind entails the the thoughts that are currently the focus of our attention are seen as being the tip of the iceberg; a small section of a much bigger picture. The pre-conscious consists of thoughts that are not actively in use, however can be retrieved from the memory.

Freud draws further comparison by comparing the unconscious mind to the bummock of an iceberg (The submerged mass of an iceberg). Freud outlined that the unconscious mind is the most significant; within this faction resides the process responsible for most of our behaviour. Similarly to the hummock of the iceberg, the most imperative section to the structure is hidden away. According to Freud, the unconscious works as a repository for primitive wishes and animalistic impulses that are kept at bay.

Freud later developed the structure model for this theory, adopting three new terms for the structure of the psyche; the Id, the ego, and the super-ego. Freud assumed that the 'Id' operates at a unconscious level, and comprises of two biological instincts; Eros & Thanatos.

Eros is believed to be a life instinct; responsible for ensuring survival through life-sustaining activities (e.g. breathing). Thanatos on the other hand, is described as being a death instinct; responsible for destructive forces that when exerted outwards towards others, can be expressed in violence and aggression. Freud believed that our ability as the human race, to survive rather than self destruct is a reason as to why Eros is more powerful than Thanatos.

The 'ego' is said to develop from the Id during infancy, and operates at a conscious and unconscious level. The ego's role is to satisfy the primitive demands of the Id, however in a socially-acceptable manner.

The 'super-ego' develops during early stages of childhood, when the child is able to identify to a same sex role model. It is responsible for moral standards are adhered to. The super-ego works as a moral compass and is utilised to motivate us to handle situations in a socially-acceptable way.

The basic conundrum that is generated, is that each of these three elements are not compatible with the other two. This ensures that inner conflict will occur. An example of this is the superego may make someone feel guilty for stealing water to quench dehydration, however the Id will drive them to do so. The conflicting goals of these two sections of the psyche structure are refereed and mediated by the ego.

Mulvey's 'Male Gaze Theory

Laura Mulvey; born 15th August 1941, is famous for her her theoretical research into the art of film; particularly her studies into the theory of 'Male Gaze'. The male gaze theory depicts objectification of women that appeal to the sexual attractions of the male species. Within this theory, she outlines that objectification of women can come in many forms; such as fragmentation shots that show off promiscuous features of the female body, lingering on the curves of an attractive women. In all instances of the male gaze, the audience is positioned in the perspective of a heterosexual male. Women are displayed as being sexual objects; both for the characters within the film, and the audience watching. This is one reason for the concept being adopted within feministic film, media studies, as well as cultural and photography studies. The theory promotes a sense of patriarchalism within the film industry, outlining that because the film industry is male-dominated, representation of women is presented in a misogynistic light. The male gaze phrase originates from her 1975 essay; titled 'Visual Pleasure and Narrative Cinema'.

Experimental Filming- Opening Doors

Today; as part of my task, I was required to make a short film; the theme being opening doors, and turning it into something creative. I instead chose to take a slightly different approach from the ordinary thought of someone opening a door. Instead I opted for using 'opening doors' as more of a metaphor rather than an actually action.

My short film details a few hours in the life of a drug user who relies on his marijuana cigarettes as a 'key' to 'unlock' his mind. Below is my finished production.

In my short film, I have intentionally left several instances in which audiences may pick up the way in which the drug user's mindset is set up. More active audiences should be able to achieve the preferred reading.

The first occasion this occurs at is 11 seconds in, when the first first-person scene is shown; allowing the audience to empathise with the drug user by showing them the world from his perspective. To reiterate this point, the background behind the 'spliff' is not in focus. This was done to draw attention towards the drug user's 'key' and signify his obsession.

The next instance occurs at 34 seconds when the film displays the first in-colour shot. Prior to smoking the 'joint' the video is displayed in black and white, however once the effects of cannabis begin to set in on the drug user, 'his' world becomes colourful.

The last observation to be made is that in the video the only shots displayed in colour are also in first-person. I deliberately did this because it is an experience that is only felt by the drug user and so I felt this had to be transcended in a manner in which could still be experienced by the audience. 

How Meaning is Constructed in Film through Analysis of Visual Signification- Lighting in Horror

Meaning is constructed in film through visual significance through a number of methods and techniques. These include Lighting, Mise-en-scene, Representation, Actors/Actress, etc.

Lighting in Horror

Lighting is one of the easiest, yet most useful techniques utilised to construct meaning in film. An example of this is the contrast in lighting between different genres. Take horror films for example, where as this genre conventions detail that lighting should be dark, with use of shadows to connote a sense of danger and fear. On the other hand, a more mellow genre such as comedy, would prefer to implement a brighter lighting to set a more relaxed, humorous mood. 2 supporting examples to back up this theory can be seen below. The use of low-key lighting techniques could be said to represent a Freudian need to repress the Id or signify that there is an aspect of the villains personality that is evil.

In this official movie trailer for 'SAW II' (2005), clear use of high contrast lighting and shadows are present within the first 10 seconds of the video clip. Used to set an eerie atmosphere; a technique used consistently throughout the horror genre.

Similarly in the movie trailer for a more contemporary text, 'Annabelle 2' (2017), even as early as the first scene, the establishing scene is set to low brightness to give the preferred reading of darkness and evil. Shadows are then utilised in the establishing shot; the next scene inside the house to set an terrifying atmosphere.