The clip of Rome shows many different scenarios that were happening due that certain period. Many representations are made throughout the clip in order to show the importance of status at the time.
The first shot that we see is an establishing shot which seems to focus upon of soldier as there is a tracking movement placing him always in the centre of the screen. This camerawork seems to be extremely polysemic; the first reading would be that the use of an establishing shot presents all soldiers as well as the one we are following; this could connote to the audience that all the warriors are of low status due to them being unidentified. Furthermore, the use of high angle shot degrades the soldiers and signifies to the audience that people with low status mean nothing and connotes them as worthless. However, an oppositional reading would be that the tracking movements highlight the soldier in the middle of our screens, giving him more status than the others around him. Therefore, this far from anchored camerawork results in confusion in regards to denotations; this confusion inflicted on the audience could mimic feelings of the soldiers; connoting them as unintelligent.
In the next scene we see the two men presented in a two shot at low angle. This low angle shot enhances their figures on the screen, making them bigger and providing them with more power and status. What’s more, in contrast to the previous establishing shot of the soldiers, they are a variety of over the shoulder shots and close ups. These shows are often used in order to focus upon a certain characters emotion. This denotation added to the established high status connotes to the audience that it is only people with high status and power whose opinions really matter. This could signify to the audience that the culture of Rome at the time was extremely materialistic and power hungry.
The scene to follow shows soldiers on horses; the character of Lucius is shot in a mid shot on his own in contrast to the two people he is talking to being presented in the same shot. By using a similar shot type for all of thee characters it connotes that they are of similar ranks. However, by Lucius denominating the screen on his own it is clear that he has slightly more status than the other two that he is addressing.
The next scene focuses main on portraying the status of Julius Caesar. When Lucius is addressing Julius there is an extreme high angle shot focusing upon Lucius, so much so that the camera work becomes noticeable, decreasing verisimilitude. Not only does the extreme high angle shot emphasize Julius’s superior authority but due it gives the idea of surrealism because of the extreme gradient; this surrealism could connote to the audience that to even talk to Julius was almost dreamlike and an extreme privilege.
To conclude, camerawork is used throughout in a very basic yet effective manner. The representation of characters is neither positive nor negative but merely a reflection of the time period due to this being a period drama. It shows us how materialistic everyone was by manipulating the audience into people being better than others, which isn’t accurate at all.
Sunday, 29 November 2009
Sunday, 22 November 2009
An analysis of Editing in 24
The clip of 24 presented the opening of the series; with some political issues being followed by a family scene which turns out to be far from perfect. 24 is a TV drama that doesn’t stick to the stereotypical style of continuity editing but still maintains a feel of verisimilitude due to everything happening in real time.
The sequence starts with a split screen of multiple people and gradually focuses upon one man. This figure of a man then consumes both of the split screens which focus on him from different angles; this highlighted coverage of the man could suggest that men are predominant within the storyline. However, throughout the sequence there are multiple motivated cuts in order to hide the identity of the man; this could represent the stereotypical view that men are sneaky and untrustworthy as his full character is not revealed. What’s more this use of editing according to Walter Murch enhances the emotion of the viewer as the motivated cuts create mystery, creating tension as we aren’t sure about the character on screen; this feel of tension reflects the characters emotion as he is clearing participating in an act that he shouldn’t be doing, making him nervous. Motivated editing is used once again but this time to portray women; this comes when we follow the president’s wife. Rather than cut to a shot where as were presented with her face there is a long take where we track the back of her head; however her face is shown once she reaches the president. This reluctance to reveal her face connotes to the audience that women are insignificant as well as representing that the character is nothing with out the president; representing women as subservient to men. Furthermore, during this long take a graphic of the time comes up with the time; not only does this show the progress in the episode but it also acts as a denotation about women. The graphic of the time draws the attention away from the action of screen; graphics such as this are often presented in areas of low action or interest; therefore, by showing it while the woman is on screen it could suggest that she is boring and to some extend irrelevant as her presences is undermined by the graphic.
The next scene to follow is one that presents the main character’s home life and the problems with it. As the daughter ‘Kim’ exits to her bedroom we watch her walking away, rather than having a matched cut showing her reaction towards her mother as she exits the room. Not only does this shot foreshadow Kim’s disappearance as she exits the shot rather than us following her, but it could once again represent women as unimportant. Prior to this, Kim was insulting her mother; therefore you would expect a cutaway of her face to emphasize this hatred as she walks past the character she was just insulting. By not presenting her emotion it undermines her anger, representing it was an everyday occurrence, thus representing the stereotype that women are emotional.
To conclude, it is clear that 24 uses editing very efficiently throughout; representing any thinks about the characters. From the representations that I have analyzed I think that the main denotation is that women are easily demoralized and often not valued within such a physical profession. However, despite this I would not state that it connotes women in a negative light but simply sways towards a more stereotypical view that women are not as able.
The sequence starts with a split screen of multiple people and gradually focuses upon one man. This figure of a man then consumes both of the split screens which focus on him from different angles; this highlighted coverage of the man could suggest that men are predominant within the storyline. However, throughout the sequence there are multiple motivated cuts in order to hide the identity of the man; this could represent the stereotypical view that men are sneaky and untrustworthy as his full character is not revealed. What’s more this use of editing according to Walter Murch enhances the emotion of the viewer as the motivated cuts create mystery, creating tension as we aren’t sure about the character on screen; this feel of tension reflects the characters emotion as he is clearing participating in an act that he shouldn’t be doing, making him nervous. Motivated editing is used once again but this time to portray women; this comes when we follow the president’s wife. Rather than cut to a shot where as were presented with her face there is a long take where we track the back of her head; however her face is shown once she reaches the president. This reluctance to reveal her face connotes to the audience that women are insignificant as well as representing that the character is nothing with out the president; representing women as subservient to men. Furthermore, during this long take a graphic of the time comes up with the time; not only does this show the progress in the episode but it also acts as a denotation about women. The graphic of the time draws the attention away from the action of screen; graphics such as this are often presented in areas of low action or interest; therefore, by showing it while the woman is on screen it could suggest that she is boring and to some extend irrelevant as her presences is undermined by the graphic.
The next scene to follow is one that presents the main character’s home life and the problems with it. As the daughter ‘Kim’ exits to her bedroom we watch her walking away, rather than having a matched cut showing her reaction towards her mother as she exits the room. Not only does this shot foreshadow Kim’s disappearance as she exits the shot rather than us following her, but it could once again represent women as unimportant. Prior to this, Kim was insulting her mother; therefore you would expect a cutaway of her face to emphasize this hatred as she walks past the character she was just insulting. By not presenting her emotion it undermines her anger, representing it was an everyday occurrence, thus representing the stereotype that women are emotional.
To conclude, it is clear that 24 uses editing very efficiently throughout; representing any thinks about the characters. From the representations that I have analyzed I think that the main denotation is that women are easily demoralized and often not valued within such a physical profession. However, despite this I would not state that it connotes women in a negative light but simply sways towards a more stereotypical view that women are not as able.
Thursday, 19 November 2009
Compare and contrast 24 Hour Party People’s production to that of a Hollywood film.
The two films that I will be comparing and contrasting are ’24 Hour Party People (Michael Winterbottom, 2001) and ‘The Boat That Rocked’ (Richard Curtis, 2009). The two films deal with similar themes of passion for music as well as multiple others; for these similarities I feel that will be perfect to analyze.
The first element to consider is the synergy in both films; the first type of synergy I will focus on is product placement. In ‘24 Hour Party People’ there is one example of product placement; when the main characters girlfriend leaves for the train station there is an advertisement for PG tips. A stereotype often associated with England is the love for tea; therefore the inclusion of this is well suited for the British production. On the other hand, there are no examples of product placement in ‘The Boat That Rocked’; it could be suggested that the reason for this was that although the film is Hollywood it is not a bigger enough production to capture the large companies typically associated with Hollywood productions. Another section that both productions use is music appearance; however it is clear that the Hollywood production develop this idea. It is clear that both films include music both verbally as well as visually. ‘24 Hour Party People’ includes music from the ‘Sex Pistols’ throughout as well as showing archive footage from ‘New Order’s concert; ‘The Boat That Rocked’ includes music throughout as well as presenting a montage of album covers toward the end. However, ‘That Boat That Rocked’ develops the idea of music appearance into cross media convergence. It was the well-known artist Duffy that produced the song ‘Stay With Me Baby’ specifically for the film. This cross-media convergence increases advertisement for both the film and the artist.
In terms of new media technology, both films are fairly modern and both produced in the 21st Century, resulting in new technology being used in multiple areas. The first element to focus on is cinematography; both films were shot using digital tape. This resulted in both films having different shots that would have been unable to apply with an analog recording. For example, in ’24 Hour Party People’ when the reporter is paragliding, the camera is actually strapped to the paraglider; this resulted in a very jumpy shot of the reporters face. This type of exclusive camerawork wouldn’t have been possible with an analog camera and it gives the shot a much more realistic feel. However, it is clear that the editing of the two films differ; ‘The Boat That Rocked’ uses much more complex and interesting editing. In it’s opening sequence both horizontal and vertical swipes are used as well as multiple split screens and other functions. In contrast to this, ‘24 Hour Party People’s opening sequence presents the initial credits in a much simpler way; with colourful images merely fading on and off the screen. Special effects are also used in both productions; however the scale of the CGI alters hugely. The most noticeable use of special effects in ’24 Hour Party People’ is the section with the pigeons; this includes multiple falling from the sky as well as a camera that appears to be placed on the back of one of the pigeons. However, in ‘The Boat That Rocked’ the use of CGI is far less noticeable and is on a much higher scale; special effects were used to create the sinking of the boat as well as the sea around it.
In terms of the effect of new technology I feel that it has opened new prospects for British independent films; I feel that it has closed the difference between the two & revolutionized film. Digital recordings in regards to the effect of Hollywood productions has allowed them to master the techniques for CGI; this is evident through the realistic feel. This enabling of better and more advanced equipment has allowed directors to make films have they want them to be produced; suiting different audiences with different styles.
To conclude, there are many similarities and differences in the films production; the majority due to quality and definition. Although I believe that both productions are of a similar standard, using comparable software & techniques, it is the Hollywood production that just edges in regards to audience appeal and satisfaction.
The two films that I will be comparing and contrasting are ’24 Hour Party People (Michael Winterbottom, 2001) and ‘The Boat That Rocked’ (Richard Curtis, 2009). The two films deal with similar themes of passion for music as well as multiple others; for these similarities I feel that will be perfect to analyze.
The first element to consider is the synergy in both films; the first type of synergy I will focus on is product placement. In ‘24 Hour Party People’ there is one example of product placement; when the main characters girlfriend leaves for the train station there is an advertisement for PG tips. A stereotype often associated with England is the love for tea; therefore the inclusion of this is well suited for the British production. On the other hand, there are no examples of product placement in ‘The Boat That Rocked’; it could be suggested that the reason for this was that although the film is Hollywood it is not a bigger enough production to capture the large companies typically associated with Hollywood productions. Another section that both productions use is music appearance; however it is clear that the Hollywood production develop this idea. It is clear that both films include music both verbally as well as visually. ‘24 Hour Party People’ includes music from the ‘Sex Pistols’ throughout as well as showing archive footage from ‘New Order’s concert; ‘The Boat That Rocked’ includes music throughout as well as presenting a montage of album covers toward the end. However, ‘That Boat That Rocked’ develops the idea of music appearance into cross media convergence. It was the well-known artist Duffy that produced the song ‘Stay With Me Baby’ specifically for the film. This cross-media convergence increases advertisement for both the film and the artist.
In terms of new media technology, both films are fairly modern and both produced in the 21st Century, resulting in new technology being used in multiple areas. The first element to focus on is cinematography; both films were shot using digital tape. This resulted in both films having different shots that would have been unable to apply with an analog recording. For example, in ’24 Hour Party People’ when the reporter is paragliding, the camera is actually strapped to the paraglider; this resulted in a very jumpy shot of the reporters face. This type of exclusive camerawork wouldn’t have been possible with an analog camera and it gives the shot a much more realistic feel. However, it is clear that the editing of the two films differ; ‘The Boat That Rocked’ uses much more complex and interesting editing. In it’s opening sequence both horizontal and vertical swipes are used as well as multiple split screens and other functions. In contrast to this, ‘24 Hour Party People’s opening sequence presents the initial credits in a much simpler way; with colourful images merely fading on and off the screen. Special effects are also used in both productions; however the scale of the CGI alters hugely. The most noticeable use of special effects in ’24 Hour Party People’ is the section with the pigeons; this includes multiple falling from the sky as well as a camera that appears to be placed on the back of one of the pigeons. However, in ‘The Boat That Rocked’ the use of CGI is far less noticeable and is on a much higher scale; special effects were used to create the sinking of the boat as well as the sea around it.
In terms of the effect of new technology I feel that it has opened new prospects for British independent films; I feel that it has closed the difference between the two & revolutionized film. Digital recordings in regards to the effect of Hollywood productions has allowed them to master the techniques for CGI; this is evident through the realistic feel. This enabling of better and more advanced equipment has allowed directors to make films have they want them to be produced; suiting different audiences with different styles.
To conclude, there are many similarities and differences in the films production; the majority due to quality and definition. Although I believe that both productions are of a similar standard, using comparable software & techniques, it is the Hollywood production that just edges in regards to audience appeal and satisfaction.
Sunday, 15 November 2009
Fantasy Film Making Part TWO
Synergy
There are three types of synergy that would be associated with our production;
Product Placement - Stella. The product of stella beer links in with the idea of anti-social behaviour ridden themes.
Commercial Apperance - we would once again use stella through commercials. Stella is seen as a beer related with violence so i feel that using this product as a tie-in will be most efficient in targeting our audience.
Music Apperance - We would use our record label of 'The Prodigy' in our production as there raving style would suit the upbeat nature of our film.
Through the income from synergy as well as other budgets our budget at this stage is
£4,761,000
There are three types of synergy that would be associated with our production;
Product Placement - Stella. The product of stella beer links in with the idea of anti-social behaviour ridden themes.
Commercial Apperance - we would once again use stella through commercials. Stella is seen as a beer related with violence so i feel that using this product as a tie-in will be most efficient in targeting our audience.
Music Apperance - We would use our record label of 'The Prodigy' in our production as there raving style would suit the upbeat nature of our film.
Through the income from synergy as well as other budgets our budget at this stage is
£4,761,000
Crew
Director - We decided to use the director of Danny Boyle. Not only is he within our reach but he also directed the last film on 'Trainspotting' so he has an in-depth knowledge of the production style and its cast. However, the negative of this is that Danny Boyle is possibly not thee most well known director that we could have got.
Production Team, Editor & Special Effects - We decided to use professional British for all of these catagories. We felt that it was important to use professionals due to Danny Boyles reasonable working standard. Whats more, it is good to use a british team as it is a british production so it adds to the films independent feel. However, it is clear that we could have used a hollywood crew in order to boost the profile of the team.
The total cost of all of these is; £2,000,000
New Technology
Camera (Sony HDW) - This high-tech camera was perfect for our production - it was of a reasonable size and great quality as well as being within budget. However, it is clear that we could have purchase a more expensive and better camera. We felt that we needed four units in order to cut time as more angles could be captured at one time - £195,492
Tapes (Sony HD) - We would purchase 250 of these in order to be sure of having enough room for error. The tapes were within budget and HD - £1750
Computer (8-Core Mac Pro) - We felt that this was possibly the best option that we could have picked, although the expensive price of £2400 (including screen) we felt that it was a great purchase which would benefit the production.
Editing Software (Final Cut Software) - We went for the convention choice as we felt that most editors would be familiar with this software. However, we could have used a slightly better format at the risk of the editors not being familiar with the format - £1000
Special Effects (After Effects CS4) - This software was once again convention and reasonably priced. The only disadvantage is that the standard of this software could be seen as less than acceptable. - £1000
Dedolight (£10,000) 0 This lighting was just about acceptable for the production although a better lighting system could have been found.
Tripod (£28,000) - We decided to purchase four of these in order to hold the four camera found. Although the negative of this is that the tripod turned out to be very expensive and take a huge sum out of our budget.
Total; £239,643
All of these factors added together result in a remaining budget of - £2,521,357
An analysis of Age in Skins
From my experience with Skin’s I believe that Skins relies very much on visual representations; as a result Mise-en-scene is used a lot in the clip. The clip contains the morning of a teenager after a party – many things are represented in the clip.
The element of color design is used consistently throughout the clip to portray age. An example of this is the bright colour scheme used; the blanket covering ‘Cass’ as she wakes up is green with multiple colours and images upon it. These vibrant colours represents that the show is focused upon young characters. Furthermore, the strange mix of bright colours could be seen as quite hectic; this could connote the stereotype that teenagers are often unstable and insecure as well as signifying Cass’s mental disorientation.
The next section of mise-en-scene that is used to portray age in the clip is lighting; the lighting throughout is most defiantly ambient natural lighting. Not only does this connote the day time but it also presents a very vibrant feel to the image. This consistent energy acts a denotation to represent how teenagers are full of life and energy. What’s more, as Cass is leaving the house through the yellow fly-screened doorway the lighting becomes very bright and almost artificial. This dream like imagery of Cass walking forward into full key lighting could act as a signifier for the stereotypical view of young adults being immature. However, this image could be polysemic as an oppositional reading could be that the full key lighting is positive as it connotes to the audience that the young people are full of sparkle and fun.
The aspect of acting is also used as a very efficient denotation of age in the clip. The actress playing Cass is extremely skinny; this is emphasized through production design as she is only wearing underwear as she stands up. This specific casting and use of costume signifies that Cass is young as well as being an anchored representation of the stereotype that all teenage girls suffering from weight problems. As Cass leaves the house two things are connoted; from the dialogue it is clear that Cass doesn’t reveal to the mother (Anna) that her house has been ruined. This lowers the mother’s status in the scene as it presents her as naïve. This could signify that teenagers are in actual fact becoming more intelligent than parents and challenges the stereotype that teenagers are failing in school and often anti-social. However, this denotation is yet again polysemic as a contrasting view could be that Cass’s reluctances to tell the mother connotes her as arrogant and passes the comment that all teenagers are ‘know it alls’. The second signifier is the physical movements from Cass; as she is talking to the mother it is clear that she is always retreating due to her backwards motion. This movement acts as a signifier to the audience that Cass could be scared of the mother; this supports the view that teenagers often do not like to be associated with adults.
Production design is used in the clip as a signifier in many instances. For the majority of the clip, the setting is in the house that is in a mess; there is food everywhere, people naked, writing on walls etc. This setting, added to the teenage cast present could act as a denotation that often relates teenagers. It could represent that teenagers are messy and uncivilized due to the habitat that they are sleeping in as well as the actor’s internal characteristics such as Jal as she simply doesn’t mention the mess surrounding them.
To conclude, I feel that the signs and representations in Skins are far from being anchored; causing the audience to thinking and gain there own opinion. This effect on the viewer is also a representation of the opinionated teenager of the time, placing them in the shoe's of a teenager. Due to the polysemic style of the text I think that teenagers are either presented positively or negatively depending on the audience. If an older person is watching they will automatically sway towards the negative stereotypes connoted whereas teenagers will relate and often choose the positive representation.
The element of color design is used consistently throughout the clip to portray age. An example of this is the bright colour scheme used; the blanket covering ‘Cass’ as she wakes up is green with multiple colours and images upon it. These vibrant colours represents that the show is focused upon young characters. Furthermore, the strange mix of bright colours could be seen as quite hectic; this could connote the stereotype that teenagers are often unstable and insecure as well as signifying Cass’s mental disorientation.
The next section of mise-en-scene that is used to portray age in the clip is lighting; the lighting throughout is most defiantly ambient natural lighting. Not only does this connote the day time but it also presents a very vibrant feel to the image. This consistent energy acts a denotation to represent how teenagers are full of life and energy. What’s more, as Cass is leaving the house through the yellow fly-screened doorway the lighting becomes very bright and almost artificial. This dream like imagery of Cass walking forward into full key lighting could act as a signifier for the stereotypical view of young adults being immature. However, this image could be polysemic as an oppositional reading could be that the full key lighting is positive as it connotes to the audience that the young people are full of sparkle and fun.
The aspect of acting is also used as a very efficient denotation of age in the clip. The actress playing Cass is extremely skinny; this is emphasized through production design as she is only wearing underwear as she stands up. This specific casting and use of costume signifies that Cass is young as well as being an anchored representation of the stereotype that all teenage girls suffering from weight problems. As Cass leaves the house two things are connoted; from the dialogue it is clear that Cass doesn’t reveal to the mother (Anna) that her house has been ruined. This lowers the mother’s status in the scene as it presents her as naïve. This could signify that teenagers are in actual fact becoming more intelligent than parents and challenges the stereotype that teenagers are failing in school and often anti-social. However, this denotation is yet again polysemic as a contrasting view could be that Cass’s reluctances to tell the mother connotes her as arrogant and passes the comment that all teenagers are ‘know it alls’. The second signifier is the physical movements from Cass; as she is talking to the mother it is clear that she is always retreating due to her backwards motion. This movement acts as a signifier to the audience that Cass could be scared of the mother; this supports the view that teenagers often do not like to be associated with adults.
Production design is used in the clip as a signifier in many instances. For the majority of the clip, the setting is in the house that is in a mess; there is food everywhere, people naked, writing on walls etc. This setting, added to the teenage cast present could act as a denotation that often relates teenagers. It could represent that teenagers are messy and uncivilized due to the habitat that they are sleeping in as well as the actor’s internal characteristics such as Jal as she simply doesn’t mention the mess surrounding them.
To conclude, I feel that the signs and representations in Skins are far from being anchored; causing the audience to thinking and gain there own opinion. This effect on the viewer is also a representation of the opinionated teenager of the time, placing them in the shoe's of a teenager. Due to the polysemic style of the text I think that teenagers are either presented positively or negatively depending on the audience. If an older person is watching they will automatically sway towards the negative stereotypes connoted whereas teenagers will relate and often choose the positive representation.
Thursday, 12 November 2009
TV DRAMA 24
24
Who made the show?
‘Image Entertainment’ made the production.
What channel was it on?
Sky One
What Time?
21:00
Who is the target audience?
I believe that the show would have a relatively mainstream audience;
Age: 16-25
Gender: Predominantly Male
Ethnicity: Largely white audience due to the Caucasian cast.
Interests: Crime, Law, Government, Action etc
What was the narrative?
This particular episode of ‘24’ was based upon the newly revealed threat of a ‘dirty bomb’ about to be set off in Los Anglos
What was being represented?
There were many representations within the episode;
Jack Bauer was being portrayed as the hero like character
CTU was represented as very formal & intelligent work group due to the actors within the group and the modern and hi-tech set.
The president was represented as being in control and calm at all times.
Who made the show?
‘Image Entertainment’ made the production.
What channel was it on?
Sky One
What Time?
21:00
Who is the target audience?
I believe that the show would have a relatively mainstream audience;
Age: 16-25
Gender: Predominantly Male
Ethnicity: Largely white audience due to the Caucasian cast.
Interests: Crime, Law, Government, Action etc
What was the narrative?
This particular episode of ‘24’ was based upon the newly revealed threat of a ‘dirty bomb’ about to be set off in Los Anglos
What was being represented?
There were many representations within the episode;
Jack Bauer was being portrayed as the hero like character
CTU was represented as very formal & intelligent work group due to the actors within the group and the modern and hi-tech set.
The president was represented as being in control and calm at all times.
Sunday, 8 November 2009
Editing
Editing Prior To Digital Technology
After the shoot of the film followed the edit; prior to the introduction of digital technology this proved a some what difficult task. Linear video editing involved dealing with analog videotape; this tape would be edited on a moviola (inset,right). The editing involved actually cutting the tape and pasting it again in order to gain the correct image. The process was extremely inefficient; for example working on a stereotypical 16mm camera, there would have been roughly 14 frames per second - each of these frames would have needed to be cut and pasted. As a result of its time consuming nature this process slowed down the production of the movie immensely.
Digital Technology's impact
In 1971, the CMX 600 was introduced; this removed the process of cutting and pasting and allowed editors to edit using a light pen. However, today editing has moved on even more from this first development. Due to the introduction of digital cinematography editing is more straight forward than ever. Footage can merely be recorded upon a digital tape and then be unloaded onto a computer where video can then be edited.
Specifics
There are certain programmes and methods produced in order to make editing far easier. For example, digital editing technology such a iMovie allows the editor to upload the footage and merely drag and drop the clips in the order in which suits them. Whats more, if they make a mistake, they can press the 'edit undo' button which removes their last action. This was far from the case with linear editing- the software records all the actions of the editor in an edit decision list (EDL), this means that the original files are never lost.
Furthermore, the cost of this software is far cheaper than before. A moviola would have cost roughly £10,000 as the equivalent of today's value; this expensive cost would have made it near impossible for any independent to make a film. However, today things are different; editing software such as Cinelerra have be downloaded of the Internet for free. This extreme convenience has resulted in editing becoming an easier process than ever. Moreover, the previously used moviola was large and would consume the majority of a room. Today's Apple iMac can be used anywhere and everywhere allowing people to even editing on the go, continuously.
Yet, it is clear that this new method is not entirely flawless; computers can be unreliable there is always the sure of losing the files forever. Moreover, there is extreme variety of programmes that can be used; it is hard to adapt between programs which causes a problem for editors as it leaves them restricted in regards to variety.
Impact On The Audience
Due to the extreme convenience of today's non-linear editing it enables anybody to produce media. This is clear due to the media convergence of phones for example; a media text can easily be created through a phones camera and editing systems. This increased availability has resulted in more films; this benefits audiences as it allows them to indulge in more films or their taste and gives them a wider variety. However, digital editing is not as good quality as analog which results in the audience losing out in terms of quality and definition. What's more, prior to non-linear editing an average fan of film which an ambition to start a project in regard to film production would have been near on impossible. Yet, today's methods allow anybody to take a go at producing a film.
Technological Convergence
When two functions are joined together it can make a process far easier and simpler to use. For example; on a modern day digital camera lighting and other special effects can be used prior to even filming the footage. This means that after it is filmed their is no needed to add special effects or alter the clip in any way. This contrasts hugely to previous methods; footage would be shot as it was scene - with no functions on the camera in order to adapt or adjust the shot. This consequent in work being put into the shots after which in terms of analog videotapes was a long and drawn out process.
To conclude, editing has moved on hugely and impacted on the production of films in every way possible. Although certain elements contain flaws I think that it is safe to say that modern day editing is simply too simple- taking the professionalism out of film making to a certain extend. Nevertheless, the convenience and benefits that it brings cannot be ignored - the advances are most certain positive for all involved in film.
http://shiimasharif.blogspot.com/2009/11/cinematography-and-sound.html
Here are the links to the other elements of the film industry that has been changed through time.
An analysis of Gender in Spooks
The clip of spooks presented a variety of different representations in regards to sound. The audio was used cleverly and effectively throughout the clip; with different variety as the mood of each scene changed.
The first thing that we hear is an extreme close perspective sound of guns shots. The manipulation of sound mixing in order to make the sound effect louder makes the sound very abrupt. This strength represents the people in the scene to follow are likely to be men as weapons are often associated with men and the loud volume adds a masculine touch.
The next thing to follow this is the sound motif for the show; this was at a considerably slow pace and fairly low tone. Once again this could suggest that the show is male dominant due to the constant deep and control rhythm. Next, was a women running down a long hall way; there was a Foley sound of a women in high heels running, this obvious represented the figure as a women as well as highlighting what she was wearing. Once in the room another piece of Foley sound is used to further our understanding in terms of gender. When the woman made the joke ‘get an overdraft’ there is a diagetic sound of laughter from the group directly after. This connotes that although MI5 is indeed male dominant women are still accepted, as it heightens her status in the scene as she is accepted by the group through humour.
Following this we are introduced to a woman watching some kind of musical. The sound in this musical is extremely light and fast, this could suggest a feminine character. What’s more, this is asychoronius sound as she is merely sitting stationary whilst the music is jumpy, this could suggest that her life is missing a certain quality and the lively music represents her dream to be happy. This point added to the feminine rhythm of the music could suggest that she is missing a man in her life. The next thing in the scene is a concealed character pressing the door bell. It was clear that this character was male as prior to the doorbell being pressed there was a Foley sound on a man’s footsteps walking up the driveway. What’s more, the diagetic sound of the doorbell was extreme predominant and loud, also representing a male character.
To conclude, it is clear that the majority of the sound in the clip hint towards male dominance. The sound in the clip is always representing something about the scene and the characters present which I feel is key in both engaging the audience and allowing them to understand.
The clip of spooks presented a variety of different representations in regards to sound. The audio was used cleverly and effectively throughout the clip; with different variety as the mood of each scene changed.
The first thing that we hear is an extreme close perspective sound of guns shots. The manipulation of sound mixing in order to make the sound effect louder makes the sound very abrupt. This strength represents the people in the scene to follow are likely to be men as weapons are often associated with men and the loud volume adds a masculine touch.
The next thing to follow this is the sound motif for the show; this was at a considerably slow pace and fairly low tone. Once again this could suggest that the show is male dominant due to the constant deep and control rhythm. Next, was a women running down a long hall way; there was a Foley sound of a women in high heels running, this obvious represented the figure as a women as well as highlighting what she was wearing. Once in the room another piece of Foley sound is used to further our understanding in terms of gender. When the woman made the joke ‘get an overdraft’ there is a diagetic sound of laughter from the group directly after. This connotes that although MI5 is indeed male dominant women are still accepted, as it heightens her status in the scene as she is accepted by the group through humour.
Following this we are introduced to a woman watching some kind of musical. The sound in this musical is extremely light and fast, this could suggest a feminine character. What’s more, this is asychoronius sound as she is merely sitting stationary whilst the music is jumpy, this could suggest that her life is missing a certain quality and the lively music represents her dream to be happy. This point added to the feminine rhythm of the music could suggest that she is missing a man in her life. The next thing in the scene is a concealed character pressing the door bell. It was clear that this character was male as prior to the doorbell being pressed there was a Foley sound on a man’s footsteps walking up the driveway. What’s more, the diagetic sound of the doorbell was extreme predominant and loud, also representing a male character.
To conclude, it is clear that the majority of the sound in the clip hint towards male dominance. The sound in the clip is always representing something about the scene and the characters present which I feel is key in both engaging the audience and allowing them to understand.
Sunday, 18 October 2009
Channel 4
Do you see any similarities between the early Channel 4 and an independent film production company?
Yes, I feel that both of the two stand for similar values in the way that they promote social realist drama. These comparable motives carry through to the media which can also be prepared. The materials produced and presented by both parties is extremely rough and ready as well as dealing with politically sensitive issues for example the film Walter…which highlights many absurd themes.
How do you think the move in 1993 to being a more commercially motivated broadcaster, with the ability to sell their own advertising space, affected Channel 4’s acquisition and commissioning decisions?
Prior to Channel 4’s independence, if a show had been unsuccessful in regards to viewers, they would not have suffered as they were not in charge of the advertisement. However, once they were in control of the advertisement it was clear to them that if they targeted a mainstream audience they would get more viewers resulting in advertising places being more profitable. Therefore, they started to present shows that were not target towards a petite audience but more towards the mainstream. Consequently, the shows were less controversial and slowly Channel 4 started to lose their unique programme style.
In what ways do you think Channel 4 have lead to innovations in British Television?
I believe that in the initial stages of Channel 4’s did begin to modernize television, this is evident from its opening night where the episodes of ‘Walter’ and other shows which causes many different reactions. However, as Channel for has become more mainstream in recent times this unique style has gradually faded.
How has Channel 4 strayed from the ethos of it’s original remit as a public service broadcaster to showcase innovation and diversity in television?
Firstly, Channel for has strayed immensely as it is no longer a non-profit organization, this means that is it no longer a PSB. Moreover, it is clear that it doesn’t no longer aim in the interest of the viewers as many mainstream shows are presented e.g Friends. These are mainstream shows as they are light-hearted fun that everyone can understand.
Does the factual programming on Channel 4 today have the same educational value as it did 25 years ago?
No, for the simply reason that Channel 4 have manipulated there factual programmes in order to make it interesting and shocking. Dispatches often focus on stories that shock where as documentaries like ‘Network 7’ had a specific topic that would only appeal to certain R’n’B fans. Therefore, Channel 4’s educational programmes have been more generalized in order to capture a wide audience, resulting in a loss of educational value.
Are there any arguments to say that Channel 4 still, in some ways stil maintains its original remit?
Yes, they still broadcast new British independent films as a rule on Film4’s fund. Moreover, they still present educational programmes for kids which are common for PSB’s. What’s more, channel 4 also present shows for example documentaries that will not always appeal to a mainstream audience.
Is Channel 4’s Ownership of Film 4 Productions an example of horizontal or vertical intergration?
Channel 4’s owner ship of Film 4 productions in a vertical integration. Channel 4 acts as indirect producers as they fund Film 4 Productions however they are mainly exhibiters of the films produces as they show the film on television.
Yes, I feel that both of the two stand for similar values in the way that they promote social realist drama. These comparable motives carry through to the media which can also be prepared. The materials produced and presented by both parties is extremely rough and ready as well as dealing with politically sensitive issues for example the film Walter…which highlights many absurd themes.
How do you think the move in 1993 to being a more commercially motivated broadcaster, with the ability to sell their own advertising space, affected Channel 4’s acquisition and commissioning decisions?
Prior to Channel 4’s independence, if a show had been unsuccessful in regards to viewers, they would not have suffered as they were not in charge of the advertisement. However, once they were in control of the advertisement it was clear to them that if they targeted a mainstream audience they would get more viewers resulting in advertising places being more profitable. Therefore, they started to present shows that were not target towards a petite audience but more towards the mainstream. Consequently, the shows were less controversial and slowly Channel 4 started to lose their unique programme style.
In what ways do you think Channel 4 have lead to innovations in British Television?
I believe that in the initial stages of Channel 4’s did begin to modernize television, this is evident from its opening night where the episodes of ‘Walter’ and other shows which causes many different reactions. However, as Channel for has become more mainstream in recent times this unique style has gradually faded.
How has Channel 4 strayed from the ethos of it’s original remit as a public service broadcaster to showcase innovation and diversity in television?
Firstly, Channel for has strayed immensely as it is no longer a non-profit organization, this means that is it no longer a PSB. Moreover, it is clear that it doesn’t no longer aim in the interest of the viewers as many mainstream shows are presented e.g Friends. These are mainstream shows as they are light-hearted fun that everyone can understand.
Does the factual programming on Channel 4 today have the same educational value as it did 25 years ago?
No, for the simply reason that Channel 4 have manipulated there factual programmes in order to make it interesting and shocking. Dispatches often focus on stories that shock where as documentaries like ‘Network 7’ had a specific topic that would only appeal to certain R’n’B fans. Therefore, Channel 4’s educational programmes have been more generalized in order to capture a wide audience, resulting in a loss of educational value.
Are there any arguments to say that Channel 4 still, in some ways stil maintains its original remit?
Yes, they still broadcast new British independent films as a rule on Film4’s fund. Moreover, they still present educational programmes for kids which are common for PSB’s. What’s more, channel 4 also present shows for example documentaries that will not always appeal to a mainstream audience.
Is Channel 4’s Ownership of Film 4 Productions an example of horizontal or vertical intergration?
Channel 4’s owner ship of Film 4 productions in a vertical integration. Channel 4 acts as indirect producers as they fund Film 4 Productions however they are mainly exhibiters of the films produces as they show the film on television.
Sunday, 11 October 2009
Fantasy Film Making Part One
At the initial stages of the lesson we were given the following information about our production;
Production Company: Little British Films, a subsidiary of Hollywood
Budget: 1 million
Scenario: An adaptation of 'Porno', Irvine Welsh's sequel to Trainspotting.
From these given circumstances we developed the following storyline;
The group have little to no money and life is harder than usual, they increase their dependence on crime and are in and out of prison.
Pubs - By using a real pub is will allow us to get it for free as well as using real people are extras.
Streets - We will use different streets in Scotland,this will cost nothing as we will still to alley ways and small streets.
Police related material,Cars, costume, jail, police station)- All of this would cost roughly £10,000, but is essential to the film.
The next element to consider as actors for the production;
Ewan McGregor as the lead role - as he would cost far too much to pay, we decided to offer him 11% of the films profits. Although this is a risky move he is vital to the story.
David Tennant would play the head detective on the case, as well as being Scottish he is also very well known in England for Dr.Who and other productions. £100,000
The next two actors were in the previous film and played the characters of Spud and Tommy's Girlfriend.
Production Company: Little British Films, a subsidiary of Hollywood
Budget: 1 million
Scenario: An adaptation of 'Porno', Irvine Welsh's sequel to Trainspotting.
From these given circumstances we developed the following storyline;
The group have little to no money and life is harder than usual, they increase their dependence on crime and are in and out of prison.
***
Tommy's girlfriend visits the video store only to discover her and Tommy's 'home video' to be available for rental. She confronts the shop owner who recognises her from the video and explains that it is his best selling video in the store. She visits the group to explain her distress, this is where one member of the group develops the idea of making more videos.
***
They make money from the multiple videos produced, and life for the group is going well, apart from the minor dilemma.
***
These videos are of course illegal, and they find out that the police are planning a raid on all video stores in the local area (they find out in advance as Spud some how got a job as a police officer). As a result, they have to go all around the video stores that own their videos in a rush to destroy all of the copies. They do so. However, what Spud fails to explain to them is that they are also planning a raid on all places that they suspect to contain drugs e.g their flat. They finally get a long prison sentence.
Title: Shooting Up
Once the story had been established there were still multiple other factors to consider, here are the decisions that we came up with;
Locations/Sets:
Abandoned Flat/House
This location would be quite easy to find and most importantly would be FREE to use. This is important due to our small 1 million pound budget.
Multiple video stores - This again would be free. Also we would use the cashiers in the shop at the time in the film in order to make the deal more appealing to shop owners as well as cutting down on payment for actors.
Pubs - By using a real pub is will allow us to get it for free as well as using real people are extras.
Streets - We will use different streets in Scotland,this will cost nothing as we will still to alley ways and small streets.
Police related material,Cars, costume, jail, police station)- All of this would cost roughly £10,000, but is essential to the film.
The next element to consider as actors for the production;
Ewan McGregor as the lead role - as he would cost far too much to pay, we decided to offer him 11% of the films profits. Although this is a risky move he is vital to the story.
Frankie Boyle and the money man, he is very direct and extremely funny. He costs us a total of £10,000
David Tennant would play the head detective on the case, as well as being Scottish he is also very well known in England for Dr.Who and other productions. £100,000
The next two actors were in the previous film and played the characters of Spud and Tommy's Girlfriend.
Music
I felt that music was key to the film in order to gain that 'zoned out' feeling and add to the surreal genre of the film. We had to pick four song to include in the film:
Original song made for the film - Prodigy = £100,000
Original Soundtrack - Gallows = £25,000
Kasabian - Empire = £1000
Original song made for the film - Chemical Brother = £100,000
There is an example of a song that i would want the songs to sound like;
Therefore, in total i have £661,000 left in order to complete the rest of the film. It remains to be seen what this money will finally be spent on.
Britishness
My production is much like 'Trainspotting' in representing Britain. It focuses much more on the lower more run-down areas of britain. Moreover, it also portrays britain as a very dangerous place to live. It gives viewers the impression that Britishness is having the instiact to just live each day as it comes abd obtain all thrills that are possible. Although this may be true to a certain extent, both Trainspotting and my production go over and beyond this idea to the extent that it is seen as a negavtive way to live.
Target Audience
Age: 18-25
Gender: Male
Interests: Thrill seeking, Crime, Drugs etc .
Current Film Consumption: Trainspotting, This is England, Football Factory, Blow.
Ethnicity: Prodominately white
Location: Britain but mostly Scotland.
Friday, 9 October 2009
Preliminary exercise feedback - strengths and weaknesses
Good points
- Different variety of shots was good.
- Clear and creative story line.
- Match on action was used effectively.
- Editing was good, invisible editing was in practice.
- The music was appropriate for the story line.
- The lighting varied between shots.
- Music was maybe a little too fast for the scene.
- I would change the lighting, through editing techniques
- I would also include a more complex ending, rather than leave the scene on a cliffhanger.
- Use slower music at the end of the scene.
Tuesday, 6 October 2009
Sunday, 4 October 2009
Hollywood v Independent
The difference between Hollywood and Independent films is vast. I will be highlighting these differences and using examples from ‘Tropic Thunder’ & ‘Hot Fuzz. Before I begin contrasting I feel that it is appropriate to deliver a little background on both of the films.
Tropic Thunder (Hollywood)
Main Producer: DreamWorks
Film Budget: $100-150 million
Plot: A parody of war films. After certain events, the war film becomes slightly more realistic than expected.
Hot Fuzz (Independent)
Main Producer: Big Talk Productions
Film Budget: $8 million
Plot: A successful London cop (Simon Pegg) is transferred to a police department in a small country town. There turns out to be a lot more crime than meets the eye.
Actors
The first contrast between the films start even before the film has begun being produced. The casting of the two films causes this difference; due to ‘Tropic Thunders’ Hollywood institution they can increase the films profile by molding the film into a star vehicle by employing well known as well as expensive actors. Actors in this instance include; Ben Stiller, Jack Black, Tom Cruise etc. All of these wouldn’t have been cheap to employ. However, Big Talk Productions did not have millions to invest into the film, resulting in a less known cast such as; Simon Pegg, Nick Frost etc. Therefore, before the films have even begun shooting it is clear that the DreamWorks production will appeal to a wider audience due to the audience’s previous positive conception of the actors.
Characters
Hollywood films aim towards the main stream audience, where as Independent productions aim towards a smaller audience. Consequently, Independent films are more likely to produce characters that are more controversial or more specific to a culture where as Hollywood stick to conventional and acceptable characters. For example, as the actors are playing actors in the film, the actors are presented as unintelligent which creates a comical aspect to the film as well as allowing people to relate to it. Furthermore, the film is a parody of war films; therefore it is demoting violence as well as presenting it. This technique widens the audience as both people who despise or enjoy watching violence will enjoy the production, increasing the audience. However, Hot Fuzz is a film where it is clear that the characters will only be understood by certain people. For example, Simon Pegg and Nick Frost play the heroes in the film yet neither of then are overly attractive or sensuous. Therefore, (due to the production company’s low budget in comparison to DreamWorks) not all the characters look how they should and stereotypes are not always used in Independent films. What’s more, as the film is set in a small town, strong country accents are presented in the film. Unlike, Tropic Thunder the accents in the production therefore will be difficult to understand by some people.
Dialogue
Hollywood productions are able to use better writers, whereas Independent productions are most realistic. In ‘Tropic Thunder’ the dialogue is used to extent the narrative, for example towards the initial stages of the film the ‘director’ states “Let go and make the best war movie, ever!” just before stepping on a landmine. This will foreshadow the plot of the film to the audience and suggest that things will go wrong and leaves you waiting for more. Yet, in contrast to Hollywood productions, Independent films seem to use simpler dialogue and seem to make the storyline more real. “Want anything from the shop?”.
Music
Purchasing songs in order to use them in films differs from how well known the artist is. Hollywood productions often either produce the music specifically for the film or copyright music that will appeal to their audience as it is well known. However, independent films often just copyright less-known yet appropriate songs. This is clear with my examples as in ‘Hot Fuzz’ the most well known track is ‘Blockbuster – The Sweets’ which was released in 1989. However, it is clear that the music in ‘Tropic Thunder’ adds to the storyline due to its upbeat nature and recognized profile, for example, ‘U Can't Touch This" – M.C. Hammer.
Camerawork
Camera angles are vital to telling the story of a film, and this is where the difference between Hollywood and independent becomes most apparent. DreamWorks huge budget allows them to heighten the ‘action movie’ affect that ‘Hot Fuzz’ fails to do. With the opening 30 seconds of the movie being films entirely in helicopter shots. It is this quality that ‘Hot Fuzz’ lacks, which is once again down to the institution on the movies. The lack of money for ‘Hot Fuzz’ results in a large amount of long takes in comparison to the multiple cuts of ‘Tropic Thunder’ due to the cost of the film.
Editing
It is the variety of editing that is the difference between Hollywood and independent. As well as Hollywood productions being cleaner cut in regards to framing. For example, the idea of invisible editing is much clearer with ‘Tropic Thunder’ as the cuts are barely noticeable making the production easier to understand. Furthermore, it is clear that any footage with like then perfect audio has been dubbed in order to give a clear sound to the dialogue. However, this is not the case with ‘Hot Fuzz’ where the audio is acceptable but not as perfect as in the DreamWorks production. This is once again down to the institution, DreamWorks want to portray a ‘dream like’ atmosphere so that the film is easier and simple to watch as well as understand. Whereas, Big Talk Productions look to go for the more realistic feel, where slight glitches are seen as acceptable.
Mise-en-scene
There are many differences in regards to props, locations and graphic between Hollywood and independent and I feel that ‘Hot Fuzz’ and ‘Tropic Thunder’ highlight all of these. Firstly is the location of the filming. The end-less pit of money resulted in ‘Tropic Thunder’ being filmed in three different countries as well as some scene being shot in a studio, where the setting was created. This meant that the location was perfect for the director want to produce, again making it a lot easier to understand as the location looks exactly how it supposed to. However, ‘Hot Fuzz’ as filmed in ‘found locations’ which were all in England and easily accessed. Therefore, once again giving the film a more real and imperfect feel. The next contrast between Hollywood and Independent is the props used. ‘Tropic Thunder’s props and costumes are really clear in order to represent the characters perfectly in order to make it easier to for the audience to get what character is being portrayed, for example the complex American army attire. However, in ‘Hot Fuzz’ the only specific costume used in the film is the police costume, which would not have been expensive to get. The last comment in regards to mise-en-scene is in terms of graphics. In ‘Tropic Thunder’ there are multiple explosions, all of which were possibly physically created one way or another. However, in one of the two explosions in ‘Hot Fuzz’ it is clear to see that technology was used to create it. This gives the movie again a less effective edge to it in regards to the Hollywood production.
In conclusion, both Hollywood and Independent production companies have the ability to produce great films. Yet there style of production is completely different and this is mainly down to the institutions of the films. Although they are small factors, they mould together to give each style its little characteristics.
Tropic Thunder (Hollywood)
Main Producer: DreamWorks
Film Budget: $100-150 million
Plot: A parody of war films. After certain events, the war film becomes slightly more realistic than expected.
Hot Fuzz (Independent)
Main Producer: Big Talk Productions
Film Budget: $8 million
Plot: A successful London cop (Simon Pegg) is transferred to a police department in a small country town. There turns out to be a lot more crime than meets the eye.
Actors
The first contrast between the films start even before the film has begun being produced. The casting of the two films causes this difference; due to ‘Tropic Thunders’ Hollywood institution they can increase the films profile by molding the film into a star vehicle by employing well known as well as expensive actors. Actors in this instance include; Ben Stiller, Jack Black, Tom Cruise etc. All of these wouldn’t have been cheap to employ. However, Big Talk Productions did not have millions to invest into the film, resulting in a less known cast such as; Simon Pegg, Nick Frost etc. Therefore, before the films have even begun shooting it is clear that the DreamWorks production will appeal to a wider audience due to the audience’s previous positive conception of the actors.
Characters
Hollywood films aim towards the main stream audience, where as Independent productions aim towards a smaller audience. Consequently, Independent films are more likely to produce characters that are more controversial or more specific to a culture where as Hollywood stick to conventional and acceptable characters. For example, as the actors are playing actors in the film, the actors are presented as unintelligent which creates a comical aspect to the film as well as allowing people to relate to it. Furthermore, the film is a parody of war films; therefore it is demoting violence as well as presenting it. This technique widens the audience as both people who despise or enjoy watching violence will enjoy the production, increasing the audience. However, Hot Fuzz is a film where it is clear that the characters will only be understood by certain people. For example, Simon Pegg and Nick Frost play the heroes in the film yet neither of then are overly attractive or sensuous. Therefore, (due to the production company’s low budget in comparison to DreamWorks) not all the characters look how they should and stereotypes are not always used in Independent films. What’s more, as the film is set in a small town, strong country accents are presented in the film. Unlike, Tropic Thunder the accents in the production therefore will be difficult to understand by some people.
Dialogue
Hollywood productions are able to use better writers, whereas Independent productions are most realistic. In ‘Tropic Thunder’ the dialogue is used to extent the narrative, for example towards the initial stages of the film the ‘director’ states “Let go and make the best war movie, ever!” just before stepping on a landmine. This will foreshadow the plot of the film to the audience and suggest that things will go wrong and leaves you waiting for more. Yet, in contrast to Hollywood productions, Independent films seem to use simpler dialogue and seem to make the storyline more real. “Want anything from the shop?”.
Music
Purchasing songs in order to use them in films differs from how well known the artist is. Hollywood productions often either produce the music specifically for the film or copyright music that will appeal to their audience as it is well known. However, independent films often just copyright less-known yet appropriate songs. This is clear with my examples as in ‘Hot Fuzz’ the most well known track is ‘Blockbuster – The Sweets’ which was released in 1989. However, it is clear that the music in ‘Tropic Thunder’ adds to the storyline due to its upbeat nature and recognized profile, for example, ‘U Can't Touch This" – M.C. Hammer.
Camerawork
Camera angles are vital to telling the story of a film, and this is where the difference between Hollywood and independent becomes most apparent. DreamWorks huge budget allows them to heighten the ‘action movie’ affect that ‘Hot Fuzz’ fails to do. With the opening 30 seconds of the movie being films entirely in helicopter shots. It is this quality that ‘Hot Fuzz’ lacks, which is once again down to the institution on the movies. The lack of money for ‘Hot Fuzz’ results in a large amount of long takes in comparison to the multiple cuts of ‘Tropic Thunder’ due to the cost of the film.
Editing
It is the variety of editing that is the difference between Hollywood and independent. As well as Hollywood productions being cleaner cut in regards to framing. For example, the idea of invisible editing is much clearer with ‘Tropic Thunder’ as the cuts are barely noticeable making the production easier to understand. Furthermore, it is clear that any footage with like then perfect audio has been dubbed in order to give a clear sound to the dialogue. However, this is not the case with ‘Hot Fuzz’ where the audio is acceptable but not as perfect as in the DreamWorks production. This is once again down to the institution, DreamWorks want to portray a ‘dream like’ atmosphere so that the film is easier and simple to watch as well as understand. Whereas, Big Talk Productions look to go for the more realistic feel, where slight glitches are seen as acceptable.
Mise-en-scene
There are many differences in regards to props, locations and graphic between Hollywood and independent and I feel that ‘Hot Fuzz’ and ‘Tropic Thunder’ highlight all of these. Firstly is the location of the filming. The end-less pit of money resulted in ‘Tropic Thunder’ being filmed in three different countries as well as some scene being shot in a studio, where the setting was created. This meant that the location was perfect for the director want to produce, again making it a lot easier to understand as the location looks exactly how it supposed to. However, ‘Hot Fuzz’ as filmed in ‘found locations’ which were all in England and easily accessed. Therefore, once again giving the film a more real and imperfect feel. The next contrast between Hollywood and Independent is the props used. ‘Tropic Thunder’s props and costumes are really clear in order to represent the characters perfectly in order to make it easier to for the audience to get what character is being portrayed, for example the complex American army attire. However, in ‘Hot Fuzz’ the only specific costume used in the film is the police costume, which would not have been expensive to get. The last comment in regards to mise-en-scene is in terms of graphics. In ‘Tropic Thunder’ there are multiple explosions, all of which were possibly physically created one way or another. However, in one of the two explosions in ‘Hot Fuzz’ it is clear to see that technology was used to create it. This gives the movie again a less effective edge to it in regards to the Hollywood production.
In conclusion, both Hollywood and Independent production companies have the ability to produce great films. Yet there style of production is completely different and this is mainly down to the institutions of the films. Although they are small factors, they mould together to give each style its little characteristics.
Tuesday, 29 September 2009
Thursday, 24 September 2009
Shaun Of The Dead
From the poster itself and the tag line 'A romantic comedy. With zombies' it is clear that the film is a comedy. The production is a parody of most of George A. Romero films that show zombies 'taking over the world'. Set in London, the film takes more of the funny side to a zombie invasion. Below are some advertising materials for the film; 
The production budget for the film was 2.5 million pounds, this seems a reasonable budget for a film that has seemed to be so successful. The production company's include;
This company were also involved in the distribution stage as well as the production stage. Some examples on the company's productions include; Love Actually, Rock 'n' Rolla, and Burn After Reading.
Working Title Films
They are purely a production based organisation. Some of their work includes; Atonement and Thunder Birds.
They are purely a production based organisation. Some of their work includes; Atonement and Thunder Birds.
A lesser known and functioning company, produced less than ten feature films, one being Ali G Indahouse.
Inside Track 2
Inside Track 2
Again, only produced two films, the other being Millions.
A well known and successful company, producer of many films.
In regards to production it is clear that all of these companies have worked together either before or after the 'Shaun Of the Dead' production. However, one the film is financed and produced there is still a great amount of work to do. This is where the production company's need to find distributors for the film. This involved both making physical copies of the film as well as advertising. Distribution can be broken down into two areas, theatrical and home.
Theatrical Distributors
Focus Features (2004) (USA)
Mars Distribution (2005) (France)
NFP Distribution (2004) (Germany)
Neue Filmproduktion (2004) (Germany)
Odeon Films (2004) (Canada)
Premium Cine (2004) (Spain)
Rogue Pictures (2004) (USA)
Mars Distribution (2005) (France)
NFP Distribution (2004) (Germany)
Neue Filmproduktion (2004) (Germany)
Odeon Films (2004) (Canada)
Premium Cine (2004) (Spain)
Rogue Pictures (2004) (USA)
Home Distributors
Alliance Atlantis Home Video (2004) (Canada)
Argentina Video Home (2004) (Argentina)
Argentina Video Home (2004) (Argentina)
RTL Entertainment (2007) (Netherlands)
United International Pictures (UIP) (2004) (Argentina)
Universal Home Entertainment (2004) (UK)
Universal Home Entertainment (2004) (USA)
Universal Home Video (2004) (Brazil)
Universal Home Video (2004) (Brazil)
Universal Pictures Benelux (2004) (Netherlands)
Universal Pictures Benelux (2008) (Netherlands)
Universal Pictures Finland Oy (2004) (Finland)
Universal Pictures Finland Oy (2004) (Finland)
Universal Pictures (2005) (Germany)
Universal Studios Home Entertainment (2009) (USA)
Argentina Video Home (2004) (Argentina)
Argentina Video Home (2004) (Argentina)
RTL Entertainment (2007) (Netherlands)
United International Pictures (UIP) (2004) (Argentina)
Universal Home Entertainment (2004) (UK)
Universal Home Entertainment (2004) (USA)
Universal Home Video (2004) (Brazil)
Universal Home Video (2004) (Brazil)
Universal Pictures Benelux (2004) (Netherlands)
Universal Pictures Benelux (2008) (Netherlands)
Universal Pictures Finland Oy (2004) (Finland)
Universal Pictures Finland Oy (2004) (Finland)
Universal Pictures (2005) (Germany)
Universal Studios Home Entertainment (2009) (USA)
In this case, Shaun Of the Dead seemed to distribute more copy of the production into home rather than in theatres. This is becoming increasingly the case with common films as home
cinema is on the rise due to its extreme convenience. The next stage is the actual showing of the film, this is where the total amount of income is recorded.
The film was extremely successful earning a total of 2.9 million pounds worldwide in its opening weekend. In total the film earned 18 million with both theatre and home exibitions. Home exibitions done so well as it was avaliable in so many different formats including; Download, DVD, Blu-ray, On-demand viewings and Near On-demand Viewings. If the film were to be released now I feel that it would indeed be shown at Vue cinema due to its strong advertising campaign and well known producers such as Film Four. Moreover, I feel that it would do very well at Romford Vue due to its extremely fast and witty comical aspect.
Monday, 7 September 2009
MEDIA SUMMER
Throughout my summer, I have come across a variety of media texts that caught my attention. The first text that attracted my attention was the film 'The Strangers'. The 'thriller' genre of the film was captured perfectly through the intensive use of close-ups and invisable editing. This brilliant editing, added to some cleverly time music as well as supreme acting resulted in a film that was well worth the time. Furthermore, the music produced this summer was also of some interest. It seems t
hat Robbie Williams is set to return to the higher end of the music charts. His second album, 'I've been expecting you' sold just over 2.5 Million, where as his next album sold a disappointing 0.5 million; this was meaning due to poor advertisement and extremely poor word of mouth. However, his new album is set to bring him back to the top, if it will or not is yet to be seen.
hat Robbie Williams is set to return to the higher end of the music charts. His second album, 'I've been expecting you' sold just over 2.5 Million, where as his next album sold a disappointing 0.5 million; this was meaning due to poor advertisement and extremely poor word of mouth. However, his new album is set to bring him back to the top, if it will or not is yet to be seen.Lastly, it was teen series 'The Inbetweeners' that seems to be toping the telly ratings in my book.
Subscribe to:
Posts (Atom)