Y2 FMP: Context and Theory
- 2. CONTEXTUAL
- 3. Research intentions My main area of research in the contextual section is directors. Different directors have their own specific styles and that’s what I want to talk about. As well as this, the little areas that make specific films of theirs so good. I hope to take away these areas and develop them into my own thing, eventually letting it all come together to create my own style, inspired by them. I don’t have a preference as to what areas I want to focus on, so it could be something to do with the cinematography, or maybe something done in post production. If I do find something, I will then be able to experiment with it and try it out before I get to filming. I don’t want to go into production having never tried the techniques I want to use, so doing some experiments with them will be useful.
- 4. Guillermo delToro DelToro’s use of symbolism in his films is something to be inspired by. A lot of his films require thought as to what something actually means, some may be more literal than others, but it’s like everything means something. For example, In ‘The Devil’s Backbone’ (2001) we see Jaime, who was responsible for killing a child years before, drowning in the same place he hid the body.This is fairly obvious symbolism for drowning in guilt. Later on in his career with ‘Pan’s Labyrinth’ (2006), the symbolism becomes more difficult to work out. Everything can be interpreted in different ways down to the colours they wear and the trees. Although I wont be able to make a new tree for symbolism in my work, I’ll still be able to through the use of colour, as well as smaller objects. I can easily get my hands on various items such as knives, black clothes, and anything else that I need to create meaning not just through words and actions, but also the items in the shot.
- 5. WesAnderson Wes Anderson’s use of composition and mise en scene is definitely an inspiration for my short film. His use of perfect symmetry in film creates a dollhouse-like feeling, creating a perfectly set up shot. As shown on these screenshots from his various films, even the background is symmetrical. He is also a fan of anachronism in his films.This is where something in the shot belongs in a different time period, such as having a modern watch in a film based in the 60s. Object from the past are usually used to show how a character is stuck in the past, and make a movie seem like it’s in several different years at once, making you feel as if it’s in it’s own universe. A good example of how this is done is through theTV show ‘Gotham’ (2014).The phones andTVs they use don’t match all the décor and backgrounds, making you wonder what year it’s meant to be based in, which is information that was never revealed.
- 6. The Lumière Brothers The reason I add in these brothers is because of how they made short films with a lot of realism. Their short films, such as ‘L'Arroseur arrosé’ were comedies but they were real life situations that really could happen.They were simple and not exaggerated at all like most other films around that time. I want to convey a sense of realism like this, except mine will be more of a dramatic comedy instead of the usual comedies of this time.
- 7. Stanley Kubrick My main reason for using Kubrick as an inspiration is his work with black comedy.The main example of this, ‘Dr. Strangelove’ (1964), is a perfect example of how Kubrick can turn serious situations into something comedic. In this case, the Cuban missile crisis.Two years after this event which terrified the population, Kubrick released this, which in my opinion is a bold move. However it was done so well, it made a horrific threat seem funny, a skill which isn’t easy. As a director he’s done many different genres, such as ‘A Clockwork Orange’ (1971) and ‘2001: A Space Odyssey’ (1968) which also makes him inspirational, as there’s talent in being able to work with any genre.
- 8. More Detail InVideo Form If the video doesn’t work, it can be found onYouTube here: https://youtu.be/F034NNKAgfw
- 9. THEORY
- 10. A Generalisation of Film Theory Film theory creates debates about anything to do with film, drawing knowledge from the history of both film, and other areas. For example, aesthetics in film may be drawn from different locations in history, possibly creating a debate of both aesthetics in film and in general. It questions everything in film using facts and history, while still creating a difference in opinions, hence why they’re seen as theory rather than absolutes. Film theory is almost a prediction of films and verification of more hidden meanings, maybe even obvious meanings.
- 11. Elements of FilmTheory ■ Mis-En-Scene – The placement of the frame – Constraints of the frame – Territorial space – The frame is important as it can tell you someone’s emotions. If the frame is off centre it could be a sign a character is emotionally unstable ■ Sound – Diegetic, which is sound made in the scene, such as the characters talking – Non-diegetic, which is sound added later, such as sound effects or commentary – Most of my sound will be non-diegetic, hopefully pairing it with comedic timing. ■ Shots – Ranging from an extreme close up to an extreme wide shot – POV shots – Over the shoulder – Different shots will be used for different reasons. A wide shot will establish the location, and close ups will be used to show emotion
- 12. ■ Editing – Continuity, thematic, dialectic, classical – My editing will be simple but effective in conveying the mood that I want at a particular time. ■ Angles – Eye Level – Using high and low angles to show positions of power – Will be mostly eye level for mine, however I may use high or low angles for that same reason ■ Colour – Saturated shows happiness, fantasies and romance – De-saturated shows the past, depression and struggle – In more intense scenes for my short film, I will de-saturate the colour slightly ■ Lighting – High and low key lighting – Chiaroscuro Lighting (High contrast between a light/dark style) – Silhouette/black lighting – My lighting will be simple, I want it to look good and not be dark and grainy. However, if I make it a bit dull, that can change the mood to how I want it.
- 13. Types of Film ■ Realism – No special effects – On location sets – Basic editing – Natural lighting ■ Classical – Minimal/no special effects – Lighting and sound creates moods – Either on location or in a studio ■ Formalism – Relies heavily on special effects – Lighting and sound creates exaggerations – Breaks the illusion of reality – Editing used to speed up or slow down time My film will be realist. I’m not planning on adding special effects and it will all be shot on location. However I wouldn’t call my editing style basic, so it doesn’t completely follow the realism trend.
- 14. Bibliography ■ Conger, C. (2018). Mise en Scene: What It Means and HowWes Anderson Uses It. Available: https://www.studiobinder.com/blog/mise-en-scene/. ■ Hardcastle, A. (2005). Ghosts of the Past and Present: Hauntology and the Spanish CivilWar in Guillermo delToro's "The Devil's Backbone". Journal of the Fantastic in the Arts. 15 (2), p119-131. ■ Hellerman, J. (2019). Understanding FilmTheory: An Essential Guide. Available: https://nofilmschool.com/Film-theory-basic-terms. ■ Leigh, D (2015). The Movie Book. London: DK. p176-179. ■ Phillips, G. (1971). KUBRICK. Film Comment. 7 (4), p30-35. ■ Stam, R (2000). FilmTheory: An Introduction. Oxford: Blackwell Publishing. ■ Unknown. (Unknown). Realism in film history. Available: http://www.filmreference.com/encyclopedia/Independent-Film-Road- Movies/Realism-REALISM-IN-FILM-HISTORY.html.