Tuesday, 24 January 2017
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'.
Friday, 13 January 2017
French New Wave Design Brief
Post analysing the French New Wave movement, and conducting research into the films of famous nouvelle vague directors such as Francois Truffaut, Jean-Luc Godard, Claude Chabrol, etc. I have decided that for my own French New Wave short film, I plan on detailing people's lives away from the light, showing what people are like when they are away from sight. I intend on showing a sort of rebellious side to the characters to conform to the New Wave genre.
My intentions are that the short film is recorded as soon as possible after the planning period. I believe this will be useful as it will encourage more 'natural' acting from my characters, thus aiding the narrative in sounding less pre-established; another French New Wave convention, another method I intend on capturing my footage in a natural, outdoor location; a location my actors/actresses are accustom to and know well. I would like to utilise the 'breaking the fourth wall' technique, although this may clash with no-dialogue structure i hope to implement into my film. In order to incorporate the breaking the fourth wall technique into my film without the use of dialogue, I will have to explore unorthodox methods within the French New Wave genre. One method that comes to mind, is having the actors/actresses communicate directly to the audience through body language and physical movements. My reason for not including dialogue in my French New Wave film is the opportunity of adopting my own unique filming style is an offer I feel cannot be left beckoning.
My intentions are that the short film is recorded as soon as possible after the planning period. I believe this will be useful as it will encourage more 'natural' acting from my characters, thus aiding the narrative in sounding less pre-established; another French New Wave convention, another method I intend on capturing my footage in a natural, outdoor location; a location my actors/actresses are accustom to and know well. I would like to utilise the 'breaking the fourth wall' technique, although this may clash with no-dialogue structure i hope to implement into my film. In order to incorporate the breaking the fourth wall technique into my film without the use of dialogue, I will have to explore unorthodox methods within the French New Wave genre. One method that comes to mind, is having the actors/actresses communicate directly to the audience through body language and physical movements. My reason for not including dialogue in my French New Wave film is the opportunity of adopting my own unique filming style is an offer I feel cannot be left beckoning.
French New Wave Film Evaluation
I have produced a short film, inspired by the French New Wave genre I have been researching into over the course of the last couple of months. I have implemented some conventions commonly found within French New Wave film, and adapted to suit my own cinematic style. My short film details a few hours of a drug user's high, delivered in a New Wave-styled format.
The most important feature in which I have attempted to adopt from this genre's culture, lies in the theme. French New Wave films were infamous for their rebellious nature; being a genre that rose to prominence during the 1960s or the 'golden age' for drugs, I felt it was important to project a sense of anarchistic rebellion to connote this the drug user is engages in an illegal activity, whilst paying homage to the culture behind the French New Wave movement.
The next convention to draw similarities with French New Wave genre is the freedom my footage was able to utilise; stemming from the camera's liberation from the tripod. This allowed me more creative freedom to move around the camera in a manner I saw fit. I also feel it conveys a sense of liberation as just like the camera, the film's protagonist is not limited in what he does. The same sense in which the camera does not conform to Hollywood filming styles, the protagonist does not conform the expectations society forces upon him.
To add to these conventions, I have attempted to keep editing minimal as French New Wave films were usually independently-created (Produced without a producer backing up the project). Jump cuts are encoded into my video instead of smooth transitions to remove any unwanted comparisons to Hollywood movies. However, I have included instances in which I break this genre stereotype. For example 36 seconds into the short film, I have applied a gaussian blur effect to add emphasis to the lyrics 'And I can't see at all'. This is also done to remind the audience that this is the drug user's experience, the gaussian blur effect helps the audience to empathise with the drug user's high, and the 'wavy' experience he is encountering.
Another convention of the French New Wave genre embedded in my short film is the occasional reminder to the audience is that the film is a film. Although this is usually achieved by other films by breaking down the fourth wall. However, in my video it is executed through first-person shots that encourage the audience to empathise with the drug user. I also feel that by applying forms of editing in small doses, I am able to remind the audience that what they are watching is a film.
In this scene from Jean-Luc Godard's 1960 film piece; Breathless, the actor looks directly into the camera. In this film, this technique is utilised as a concession that causes a dislodge in the audience's comfort zone, thus provoking a reaction. It's a technique that can be used to epitomise the importance of a moment or the tension in the atmosphere. The 'breaking the fourth wall' technique has also been incorporated in various Hollywood TV series and film, for example directors of the 90s hit TV series 'Fresh Prince of Bel-Air', often had characters breaking the fourth wall by looking directly at camera, and in various instances, running through the live audience. An example of this occurs in Season 5 Episode 6 titled 'Will's Misery'.
In this scene Carlton breaks the fourth wall by running past the live audience and through the set, all of which is captured by the camera. This is implemented into the episode to empathise Carlton's shock and disbelief by Will's false account of what had happened that night, whilst delivering the scene with a humorous twist.
Another French New Wave convention that I have incorporated into my work is keeping the film crew low in numbers. I achieved this by only requiring one person to work as the actor, editor, film team, etc. I was able to do all of this jobs by myself, as just like more prominent film makers in the French New Wave movement, my production budget was limited, thus forcing me to set the objective of keeping production costs as low as possible, whilst maintaining the highest quality of film possible. To keep up with the French New Wave theme, my film was produced in such a way that no additional lighting was required. This was achieved by filming outdoors in a natural location, with me making the suitable adjustments to shutter speed, aperture and ISO to match the lighting. This French New Wave short film was recorded on a particularly sunny winter day, so it took a few minutes of playing around with the settings to ensure the image was not either overexposed or underexposed.
Lastly, one convention I felt was crucial my film embedded was ensuring my French New Wave short film did not follow a strict pre-established shooting script. However, being the same person that came up with the film's theme and the actor in the film; I was faced with the dilemma of how to conduct the film. In the end, I had decided the actor would not be given any dialogue, to maintain a sense of French New Wave authenticity. Everything the actor is thinking is projected through the song (Chorus of Eminem's 'Stan', 2000).
To conclude, I feel that my French New Wave short film project went well, however, if given the opportunity to work on it again, there are a few aspects I would have liked to improve upon. One of these aspects is the soundtrack used. The song in question is Eminem's Stan; initially released in 2000. Although I felt that this soundtrack was fitting to the story my short film attempts to tell, one convention in the French New Wave movement is contemporary and modern soundtrack be used. This means my film has chosen style over substance and thus this error dislodges the French New Wave theme my short film attempts to imitate. If I am able to rectify this error, I feel that the authenticity of my French New Wave short film will be improved.
The most important feature in which I have attempted to adopt from this genre's culture, lies in the theme. French New Wave films were infamous for their rebellious nature; being a genre that rose to prominence during the 1960s or the 'golden age' for drugs, I felt it was important to project a sense of anarchistic rebellion to connote this the drug user is engages in an illegal activity, whilst paying homage to the culture behind the French New Wave movement.
The next convention to draw similarities with French New Wave genre is the freedom my footage was able to utilise; stemming from the camera's liberation from the tripod. This allowed me more creative freedom to move around the camera in a manner I saw fit. I also feel it conveys a sense of liberation as just like the camera, the film's protagonist is not limited in what he does. The same sense in which the camera does not conform to Hollywood filming styles, the protagonist does not conform the expectations society forces upon him.
To add to these conventions, I have attempted to keep editing minimal as French New Wave films were usually independently-created (Produced without a producer backing up the project). Jump cuts are encoded into my video instead of smooth transitions to remove any unwanted comparisons to Hollywood movies. However, I have included instances in which I break this genre stereotype. For example 36 seconds into the short film, I have applied a gaussian blur effect to add emphasis to the lyrics 'And I can't see at all'. This is also done to remind the audience that this is the drug user's experience, the gaussian blur effect helps the audience to empathise with the drug user's high, and the 'wavy' experience he is encountering.
Another convention of the French New Wave genre embedded in my short film is the occasional reminder to the audience is that the film is a film. Although this is usually achieved by other films by breaking down the fourth wall. However, in my video it is executed through first-person shots that encourage the audience to empathise with the drug user. I also feel that by applying forms of editing in small doses, I am able to remind the audience that what they are watching is a film.
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Another French New Wave convention that I have incorporated into my work is keeping the film crew low in numbers. I achieved this by only requiring one person to work as the actor, editor, film team, etc. I was able to do all of this jobs by myself, as just like more prominent film makers in the French New Wave movement, my production budget was limited, thus forcing me to set the objective of keeping production costs as low as possible, whilst maintaining the highest quality of film possible. To keep up with the French New Wave theme, my film was produced in such a way that no additional lighting was required. This was achieved by filming outdoors in a natural location, with me making the suitable adjustments to shutter speed, aperture and ISO to match the lighting. This French New Wave short film was recorded on a particularly sunny winter day, so it took a few minutes of playing around with the settings to ensure the image was not either overexposed or underexposed.
Lastly, one convention I felt was crucial my film embedded was ensuring my French New Wave short film did not follow a strict pre-established shooting script. However, being the same person that came up with the film's theme and the actor in the film; I was faced with the dilemma of how to conduct the film. In the end, I had decided the actor would not be given any dialogue, to maintain a sense of French New Wave authenticity. Everything the actor is thinking is projected through the song (Chorus of Eminem's 'Stan', 2000).
To conclude, I feel that my French New Wave short film project went well, however, if given the opportunity to work on it again, there are a few aspects I would have liked to improve upon. One of these aspects is the soundtrack used. The song in question is Eminem's Stan; initially released in 2000. Although I felt that this soundtrack was fitting to the story my short film attempts to tell, one convention in the French New Wave movement is contemporary and modern soundtrack be used. This means my film has chosen style over substance and thus this error dislodges the French New Wave theme my short film attempts to imitate. If I am able to rectify this error, I feel that the authenticity of my French New Wave short film will be improved.
Thursday, 15 December 2016
French New Wave Film
This is my French New Wave short film, directed, and starring myself. The soundtrack used in my film is Eminem's 2000 hit song 'Stan'.
Wednesday, 14 December 2016
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.
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 Comedy
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 Comedy
In contrast to the bleak, eerie lighting implemented throughout the horror genre, the comedy genre opts for a brighter, more colourful approach to its lighting preferences. This is utilised to set the mood and project the preferred audience reading a positive, humorous demeanour.
One example of
In contrast to the bleak, eerie lighting implemented throughout the horror genre, the comedy genre opts for a brighter, more colourful approach to its lighting preferences. This is utilised to set the mood and project the preferred audience reading a positive, humorous demeanour.
One example of
Wednesday, 7 December 2016
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.
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.
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.
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