La La land

the cinematography in La la land is used to establish strong responses from spectators ex specially
in the final scene which shows the alternate take on the films events

when i first viewed this scene i felt a sense of humor by no cause of the films plot but by witnessing   J.K.  Simmons dancing so having seen him in over films i was more engaged with all the scenes he was in but that short sequence enlightened me enough to enjoy the rest of the sequence more than i do without it because i associate it with that humour. This probably made me few this with a positive view rather than negative.

the following sequence is like a culmination of all that has come before it as it re tells all the films events with a key difference of Seb and Mia staying together, this gave me a sense of completion as the film came full circle by revisiting a scene from the beginning as well as other key events only to resume back at Sebs jazz club.

It starts off at the previously mentioned scene with J.K. Simmons where seb gets fired and harshly brushes Mia aside but now instead he goes in for the kiss and the audience is then swooped around with upbeat music, but this is unrealistic and a display of fantasy as seb and Mia didn’t even know each other’s names at that point so would not have went to kiss each other like tha. This is an indication that the following sequence is pure fantasy and the events playing out occur in a way that would be impossible to happen in real life. The people randomly bursting into dance( a common musical trait) further cements that non of this is real this creating the idea that this outcome was impossible to attain, on my first viewing of this scene I didn’t realise how hopeless them ending up together was but to give credit were it is due this was a clever way of hinting that their future being together was only something they could dream off and the harsh world of reality EG people not randomly bursting in dance wouldn’t allow.

This sequence puts the 50’s musical imagery on full force with vibrant over saturated colours and painted backgrounds which creates a detachment from reality further more employing a bright and positive reaction from the audience. I felt a sense of joy for Mia and Seb as I saw them dance up and down the overly saturated streets as if they were cartoons further more adding to why their relationship was only something that could exist in a place like this. I find that it y hard to be displeased with this as, unless you despise the characters of Mia and Seb, there is nothing to be angry about and it makes the audience pleased to see the two characters they have followed relive the fantasy of all they have been through, but this enjoyment was bittersweet.

As the recap reaches the present we are soon sent back into the dimly lit, blue toned room with Seb once again playing the piano, it is at this point reality kicks in as the fantasy colours are now all absent. The two protagonists take one last look at each other as they silently say there goodbyes.

While the scene gives a pleasant ending to to story it made me realise that the film lacks a key factor of most good films, I found it unsatisfying, the main portion of them reaching their careers is done in a time skip and once the bright colours and cheerful music which was making me feel joy had faded I realised none of that happened and the previously mentioned music and colours only created a false sense of satisfaction, it was then that I realised that I didn’t care about the actual story only the simulated joy of this scene and when that had gone I was then exposed to the unsatisfying conclusion.

winters bone

the film winters bone is a neo realistic film about mountain life in America and relies heavily on understanding the culture and society of such rural areas.

In the scene where the protagonist Ree is asking her neighbours for information on her missing father Jessup, she finally arrives at the house of the societies patriarch Thump Milton in a last desperate attempt to learn the truth about her farther. Thumps wife Merab emerges from the door with along with a presence over Ree. Merab is standing on the steps creating a natural elevation of her over Ree instantly telling the audience of a gap in hierarchy between the two women. Ree knows that Thump is just beyond her reach but Merab denies her entry. we do not even see Thump in this scene because he is so far up the hierarchy ladder that Ree cannot even speak to him and to someone unfamiliar with the type of society seen in this film it might seem odd, why can't she see the man. The camera being at a high angle looking down on Ree shows her beneath Thump and even his wife, this is reflected through out this whole sequence as each home she visits on her quest for answers takes her further up the land and thus growing the gap in rank between her and the people she is dealing with, this is evident as the more homes she visits the more hostile the people she speaks to become as she is eventually not even allowed in the house once she arrives at Thumps residence.

This is an unfamiliar hierarchy to those from other backgrounds and if an audience had a passive viewing they would have no clue on the situation Ree finds herself in, an audience with an active viewing might be able to deduce from the dialog that the characters live in a society where law has little influence and all the structure stems from a lineage of families. Ree makes a statement about        "having some of the same blood" which to outsiders would make them families but the film takes place in such a closed off and isolated community that everyone is related.

  i personally found it hard to understand the dialogue between Ree and Merab during their encounter due to their accent but when i tried to watch this scene again with more of an active viewing i picked up on more dialougue and was able to piece together more information about the world than a passive viewing would allow

it would be hard for people to have an alignment with Ree in this scene because most 17 year old wouldn't be able to relate to her situation as they would be thinking about themselves and their future, not caring for others and being an adult. As evident from Merabs line about if Ree had a man, she is exspected to be married at this point, which is almost impossible for most movie viewers to relate to.

What differs winters bone from the mainstream films we see regularly is there is no clear cut good and bad characters (which is a standard of the neo realism genre) because we are not given an explanation and even when viewing actively the information only allows us to understand the characters to a certain degree. We are unable to tell who to trust and who to align with, teardrop is a violent meth head but he is close family to our protagonist and a key aid to her, whereas marab seems nice in this scene by giving Ree a drink and warning her multiple times, which makes the audience trust her, but this trust is instantly destroyed when her and the other women beat Ree down to a bloody mess, only then to help her by revealing her dads resting place and helping her retrieve the evidence she needs to prove his death and alive the conflict of the film. It is the complex layers and lives of people who live in these societies that make it hard for mainstream audiences to understand as these characters have more depth than typical movie characters and unlike another Jennifer Lawrence lead film, the hunger games, which also deals with a young girl tasked with adult duties in a society with an dangerous hierarchy, there is not enough exposition to explain this almost alien world as there is with its mainstream counterpart.

Evaluation

In our film we emphasised the battle between Mara and the figure through framing, for example the opening shot was made symmetrical to highlight the feud between the main characters as it showed their opposition. In many shots we used negative space, such as in the close-up shots of Mara and the figure, to create an uneasy tone and make the audience uncomfortable. We used a graphical match cut to transition between her dream and reality conveying how her anxiety has an effect on her life.

However, we had to remove possible ideas due to time constrictions and the inability to film in a bedroom, therefore we had to adapt by having her wake up in college. This lead to us getting rid of a scene of her walking to college which put more focus on the represented anxiety. For future reference, we will make our plan achievable.

checkmate script

Checkmate

FADE IN:

EXT. FIELD - DAY

Two people sit in an alley with a chess board between them.

MARA, a teenage girl dressed in white/grey clothing is controlling the white chess pieces, while an unidentified FIGURE dressed in black is controlling the black pieces.

The game is nearing the end, with the FIGURE only moving one chess piece to win and put her in checkmate.

When the chess piece hits the table, an upbeat song begins to play.

INT. TABLE AT COLLEGE

The song continues to the next setting, and is revealed to be MARA’s alarm.

MARA sits up and turns her alarm off. Then, she looks around at the homework she was completing and sees the FIGURE at the top of the staircase next to her.

She gathers her papers and leaves briskly. 

INT. CLASSROOM

MARA sits at the front left side of the room, with the FIGURE at the back right side.

TEACHER, a strict teacher stands at the front of the class teaching Maths.

The TEACHER is going over the work for the lesson, but MARA is daydreaming instead of paying attention. In the background, there is the sound of a pen being clicked/tapped and the clock ticking.

TEACHER

MARA?

        MARA is taken out of her daydream when the teacher says her name. 

TEACHER

Mara, you please answer the equation?

MARA is visibly frightened and confused. As MARA’s anxiety grows, the figure draws nearer, moving from the back of the classroom to the middle, moving diagonally like a chess piece.

TEACHER

                      Mara, I said, could you please answer the equation?

MARA

I-I uhh

TEACHER

Was anyone who was paying attention help mara?

The FIGURE is now sat right next to MARA, as the TEACHER shifts their focus, MARA lets out a breath of relief, and opens a box of pills. She takes one pill from the bottle and swallows it to calm her nerves. Once she swallows the pill, the same music from the alarm begins to play.

EXT. BUS STOP

MARA walks to her bus stop, wearing earphones with the upbeat music playing through, and she stands waiting at the stop for her bus. Standing across the road from MARA is the FIGURE.

EXT. ALLEY

MARA runs into the alley. The figure appears and then they’re both standing in the same place as in MARA’s dream, facing each other. 

There is a cut to the two kings of the chess set in the same place as MARA and the FIGURE, as the black chess piece knocks over the white. 

FADE TO BLACK

cinematic ideas

Cinematic Ideas

Our short film is a psychological horror, using a narrative portraying a conflict between two characters, portrayed using the mise-en-scene of costume with the main character, Mara,  wearing white and the other character wears black to highlight their opposition. In the first scene of the short film, we plan on using the prop of a chess board that the characters will play to foreshadow the events of the film, with them playing chess they will be face-to-face with one another. Through this first scene there will be no sound except for the diegetic sound of the chess pieces being moved, until the last chess piece is moved and then an upbeat song will begin to play, which will be revealed in the next scene to be a phone alarm for Mara to wake up, thus creating a sound bridge. The transition from the first scene to the next will be made using a graphical match cut from a bird’s eye view/aerial shot of the chess board to a close-up of a phone. She’ll end up in a classroom that will be lit with low key lighting to give off an uneasy feeling. The teacher will be shot using low angles to convey Mara’s fear of them and their power. We will have another sound bridge from when Mara takes her tablet the upbeat music plays, which will be coming from Mara’s earphones in the next scene. In this next scene Mara will be waiting at the bus station with graves behind her, foreshadowing the end of the film. Then it will move onto the final scene of the film, which will be set in the exact same area of the chess scene to imply that this is their final confrontation. 

film mood board

film synopsis

The film focuses on Mara a girl in college struggling with anxiety who is being stalked by a mysterious figure in black. We follow her through a normal day as she is forced to fight against both the mental threat of being in society as well as the physical threat of the figure and whatever it is they want

Mara struggles with social interaction and suffers severe anxiety because of it but this is unnoticed by everyone around her. We start with a metaphorical opening sequence followed by a trip of Mara's day through college and her eventual confrontation with the figure in black.

Mara and the figure are the main focuses of the film with only minor appearances from other characters.

The film is a psychological horror and end with the final confrontation in which Mara is killed by her shadowy stalker, it is at this point that it is revealed that the figure is actually Mara and a metaphor for her anxiety. After this twist its fades to black with a quick hint that maybe her death had another cause.

pans labyrinth 1000 words

In this scene, which takes place after she has seemingly escaped Vidal, Ofelia is facing her final trial and, just as she did in the first two trials, she must confront a monster. As it appears she must confront the Faun, he vanishes through an over the shoulder shot by retreating off screen and Ofelia is left alone, abandoned by the magic world but it is then that the true monster she must confront emerges. Vidal enters the scene in its background but not in focus and it is the only time in the entire film that the magical and real world exist together. It is significant that Vidal is not in focus at first as the camera shifts him into focus whilst the shot progresses because it could symbolize the slow transition as Ofelia fades out of the fantasy and back into the harsh world of reality. Once he is behind her it transitions to an over the shoulder shot of Vidal looming over Ofelia, at this point she is staring down the physical embodiment of Franco's fascist Spain. The shot is also a high angle shot of Ofelia showing the audience just how powerless she is and how much of a juggernaut Vidal is. Vidal takes the baby from her hand, there is nothing Ofelia can do but watch as Vidal pulls out his gun, she turns for help but sees no faun nor rebels. Ofelia begins to speak but is shot before she can even finish the first word she is gunned down, continuing the theme of the films events and imagery being parallel  to Franco's fascist Spain as just like those against Franco were silenced so was Ofelia. Ofelia turns to face the camera, she is all that is in focus, turning our attention directly on her as Vidal fades out. the colours used are still the same mute shades of blue that have been associated with the real world throughout the entire movie, that is until she raises her hand and we see he blood which is a vibrant red, just like the fantasy world, which creates a stark contrast with everything else on screen, even the natural reds on her face such as her lips are a muted pink. this could represent the spirit of the fantasy world in her blood leaking out into reality and could imply one of two things, either the free spirit of childhood and Ofelia's vision clouded by fantasy succumbs to the harsh reality of the real world and the cruel post world she lives in, or it could represent the purity and magical nature of Ofelia and show the audience that she didn't belong in our world and while she looked human on the outside, her blood tells us she is magical on the inside. This is supported by the fact Vidal's blood is not as vibrant as Ofelia's.

 As Vidal leaves the labyrinth he is met by the rebels. It is at this point that he is surrounded by his enemies with his base in flames and all his men presumably dead, he gives up his son to his biggest enemies. Vidal's final moments are documented on his face as through a shot reverse shot of him looking at his watch as he decides what to say.  Even when facing death Vidal remains like a machine, emotionless, but his appearance has became unhinged and his once immaculate uniform that he had spent time polishing is now ruined with blood and creases, even his watch, which embodied his machine like nature, is now flawed and damaged highlighting the flaws hidden below the surface of the fascist regime . ironically as he speaks his final request, he is silenced ,just as he and Franco silenced others, and shot dead. it is at this point that Vidal's deterioration from the immaculate representation he was is used to parallel the instability of Franco's Spain and even though it will continue for many more years, the collapse of the fascist regime is inevitable.

The screen then fades back to the labyrinth as Mercedes and Pedro find Ofelia, Mercedes comforts Ofelia in her final moments as her blood drips down to below. the camera pans down to her hand and then we see the blood drops dripping into a display of circles, the stone with fourn, Ofelia and a baby on it comes into view, this highlights the foreshadowing that occurred earlier in the film as that is how the final trial originally was going to happen. As Ofelia comes back into the scene there is a golden glow from behind her and she begins to sit up and a movement match cut is used to transition her from the bleeding out in a labyrinth to standing in a golden palace, no longer bleeding and now dressed in regal clothes. She had fulfilled the task and spilt the blood of an innocent and just like with the frog and pale man, she had overcome the monster of Vidal, who in every sense of the word is just as much of a monster as the other two.

As she looks around there is an establishing shot of her new surroundings followed by a low angle shot of her father, displaying how powerful he is as the audience is looking up at him as high is high and mighty. The fourn then steps from behind the throne, now he is fully rejuvenated and looking much younger to show that the princess has brought the magic back to the land and the people in it.
As Ofelia smiles there is a cut from her smiling in her palace to her smiling back in the labyrinth while maceedes mourns, the camera then zooms out to an overhead view showing once again a circle and then the film ends as it began with a narration from the same voice showing what could be one of the meanings of the circles, the story is circular and ends as it began .

SA on the Daikaiju genre

The Daikaiju genre (a term used for the genre focusing on giant monsters) is a genre that on the surface seems nothing more than mindless action involving giant monsters but that couldn’t be farther from the truth. This genre focuses on giant monsters destroying building but underneath the rubble is an allegory for destructive nature of mankind itself 

At the end of the second world war the Americans dropped an atomic bomb in the Japanese cities of Nagasaki and Hiroshima causing mass death and colossal damage, the Japanese responded as all good people do by making a film out of it.  

The 1954 film gojira desplayed the force of its titular monster but at the same time it also represents the atomic bomb. In the movie gojira is brought into existance but the atomic bomb tests that acuured in the early 50’s and it is evident that both the wepon and the monster has similar effects. The people of japan are ravaged by gojira and direct parrales are drawn to what happed almost a decade prior. Over all gojira himself is an embodiment of the atomic bomb and is ment to represent the death brought by the bomb as both the monsters attacks and the bomb were caused by the invention of nuclear wepons, something this film makes clear should never have happened. Simmilarly most films of this genre that came from the 1950’s and 60’s also share the theme of the monster stemming from humanitys own cause such as the 1956 film rodan focusing on a monster awoken by mining or the 1962 film mothra being about a large moth attacking because of the vialation of its natural habitat  

Just as the threats to humanity have changed in the real world, these movies have changed to reflect the modern age, the gamera trilogy from the 90s focuses on humanity discovering that there was another civilisation before them who met its end by its own doing reflecting on how some theorise that man will meet its end by its own hand rather than by some other force.  

Even the modern era films such as 2016’s shin Godzilla and the current series of films by legendary pictures have shifted focus to the problem coming from humanities treatment of the planet such as pollution and nonrenewable energy whereas the monster who are presented as natural animals live in a better and more sustainable way.  

Now I’m going to talk about the kind of shots that are common in this genre. 

Low angle shots are used when showing the monsters in order to make them come across as more powerful and seem larger than life, there are also a lot of point of view shots taken from the perspective of the people on the ground, this simple technique helps to make the creatures come across as grand not only in size but also power 

 

The creatures in these movies are less monsters and more metaphors, metaphors for humanities flaws, nuclear weapons, the destruction of the environment and the force of nature and while some see them as mindless action under the skin they are so much more