Screening Notes: Children of Men
In Children of Men, a scene that stood out in particular to me was the scene in which the protagonist is sitting in Michael Caine’s living room and they are discussing their society’s current demise. Perhaps it seemed so vivid to me because Michael Caine was playing a pot-growing hippie in a dystopian society, a certainly unique role, but regardless of the reason the scene left an impression.
In the scene Michael caine is sitting on a beige couch with all of his marijuana growing behind him. The grow house is attached Caine’s house and there is no door separating the living room from his illegal grow operation, which perhaps serves to show the audience that Caine is by no means a social man. What I mean is that if Caine is letting you in to his house in the first place, then he is not worried that you will be worried about his passion of sorts. Also, Caine has extremely long hair, an allusion no doubt to the hippie culture in the United States in the 1960’s. There is also a very large book case to the right of the couch showing that by no means is Caine uneducated, but rather he is an sophisticated individual, regardless of what he may seem on the outside.
Behind Clive Owen there lies a huge brown table. But behind and over that table there is a wall with a massive amount of photographs on it. These photographs symbolize that Caine is very observant of the world around him as well as the rapid demise of the government. There is also a large accompaniment of newspaper and headlines clippings along with the photos, further establishing that Caines is aware of the world around despite his living in the middle of the woods.
Children of Men seems to have many unnecessary objects placed throughout, but when viewed with a more analytical eye it is clear that each item has placed with the conscience direction of the director.
A particular moment that stood out in Hugo was the moment in which Hugo was running away from the station inspector. More specifically, the choice to only give the station inspector one leg seemed rather curious to me. Was Scorsese merely trying to add more character to the station inspector? Was Scorsese adding it purely for comic relief? I think it was a combination, especially considering the numerous references to World War One contained throughout the film. Perhaps Scorsese was implying that the rigid and rather cruel personality of the station inspector was the result of a wartime injury, endured in the Great War about 15 years earlier. Such a fact would allow the spectator to sympathize with even the meanest of antagonists.
Another moment that sticks out in my mind is that of the initial establishing shot in the film. Such a shot seemed very significant because it introduces the spectator the peculiar type of film used to Hugo. The colors are much more bright and saturated, and each actor’s eyes are exemplified. The camera work of this scene is interesting as well in how it the camera flies through the air into the train station. Such a point of view instantly gives the viewer a feeling of omniscience even though we uncover the past along with Hugo, and we never know more than he at any one time.
Another moment in Hugo that was of significance was when they are showing how the “moon” film was made. The glass house, which is described as a palace, is depicted in an awesome light as the spectator is immersed in the point of view of the boy. The point of the view of Melies camera was of particular effectiveness because it foreshadowed that this specific film would be viewed again from that point of view, except with a projector. The cinematography in this scene also places the audience into the workings behind the camera.
Screening Notes
Personally, the most prominent details of cinephilia in the film were evident in the introduction when our protagonist is getting ready. Specifically, there are several elements to the scene that emphasize his lacking of a partner.
For instance, when walking into the kitchen there are two mugs, as opposed to the one that should be there had Colin Firth not recently lost his lover
The manner in which the camera places Colin Firth off the far side of the bed, in a bed clearly meant for two helps to convey Firth’s loneliness.
He is seen staring off during several moments in the introduction. To be more specific, the shot of Firth in the shower staring at the wall with the water rushing off of him conveys Firth’s immersion in his own depression.
There are also elements elsewhere in the movie that further our understanding of Fith’s lack of intimacy:
The two blackboards in Firth’s classroom have absolutely no writing on them whatsoever, and there are at least two boards. The abundance of empty space helps to serve as a metaphor for Firth’s life.
The house itself is very large for just Firth to live in.
Firth’s desk in his classroom is also very empty and not very personalized, just like his house.
His house is very non-personalized and seems to be very hotel-esque.
The Prestige Screening Notes:
Nolan utilizes lighting as a vital component throughout the film. The most specific example that comes to mind is when Hugh Jackman is forced to take his bows under the stage. He is surrounded in darkness, with only a miniscule amount of light bleeding through from the audience. The light emphasizes what Jackman is missing, the glory of the audience’s approval.
Another instance of lighting is the manner in which the “cloning machine” of sorts works. The sudden lightning that flashes gives the object a dangerous and unknown aura, as if it could explode at any moment. The blue lightning provides an awesome spectacle associated with the machine.
The movie’s general lighting is also interesting because it seems to highlight the greyness of the world, giving the film a gritty feel, thereby making the story more intense and drama ridden. The street scenes especially emphasize such, such as when Jackman is following Bale through the streets.
The darkness of the lighting also contributes to the “illusion” of the film, in that by playing up the darkness it strengthens the mysteriousness of the movie.
Interestingly enough, this is certainly testament to auteur theory, in that is certainly representational of Christopher Nolan as director. The gritty greyness of the film seems to be in the vast majority of Nolan’s film, including the batman trilogy as well as Memento. Also prevalent in Nolan’s manner of lighting, is the use of a single light. Nolan seems to favor using a single light surrounded by darkness, as if it is fighting against the all-consuming world around, a universal and easily applicable metaphor to any movie.
To further comment on the auteurship in The Prestige, the fact that Christian Bale is a leading role along with co-star Michael Caine is no surprise seeing as they are also both major roles in the batman trilogy. Nolan clearly prefers to use actors he has already worked with in the past.
The camera shots in the movie seem to be rather typical of Hollywood, at least in regard to perfect editing and rapid cutting as well as typical shots of conversations between stars. The camera continually captures the person who is speaking, rather than the person listening, unlike Moliere’s films.
Nolan creates a gritty and depressing reality with The Prestige¸ most notably through his use of lighting and its emphasis of bleakness throughout the movie. Such lighting provokes an unconscious association of depression within the audience, and it lends itself to the suspense and drama of the film.
Van Trier utilizes numerous camera techniques, specifically a super slow-motion stood out in the intro to the film
Van Trier frames a lot of shots between objects, specifically when Kirsten dunst is sitting alone on a bench while everyone else is dancing, emphasizes her loneliness.
Very realistic reactions throughout the film, not just in reference to planet approaching. For instance, when Dunst quits her job, bos doesn’t want to make a scene but has an outburst regardless and throws the plate at the trailer.
When Michael leaves Dunst, the kiss on the forehead is a very powerful gesture, made even moreso by the line “what did you expect”
Golf course functions as “wasteland” to a certain extent, Dunst’s character continually placed there conveying her overwhelming loneliness
Why is Dunst so depressed? Never directly mentioned, communicates that her depression is a disease, not a result of any one specific event.
Van Trier uses the zoom function several times, thereby placing the audience in the movie, as if watching it in reality.
Slight shaking helps to show that the camera is supposed to be a handheld.
Dunst accepts the planet with open arms, radically drastic reaction in comparison with her sister
Establishing shots used constantly to show where we are
First entire half of the movie takes place at the wedding, gives the movie a more “documentary” feel
Dunst beating her horse shows her emotional instability and disregard for others except for her self because of her depression.
Dunst has sex in the sand bunker, bunker represents oasis of pleasure in the golf course, helps to accentuate the event.
Far away camera shot makes us feel as if we are actually watching the event take place, absence of sound also accentuates scene.
Dramatic scene in the intro foreshadows entire movie, shows planets colliding, black monster around Dunst’s legs is her depression
Kathryn Bigelow utilizes various techniques in order to accurately and terrifyingly depicts death. The editing of the film provides for an erratic, rushed, and suspenseful experience that the audience is exposed to.
A primary effect of slow-motion is used in order to dramatize a character’s death in the beginning of the movie, a character that we, as the audience, would generally have no sympathy for. However, by emphasizing his moment of death with slow-motion, by exhibiting his blood sprayed on the inside of his helmet conveys to the audience that this character’s death is to play a role of central importance throughout the rest of the movie. Indeed it does, considering the movie’s main character, Seargent William James, seems to grapple with how to relate to his new squad upon their previous leader’s death.
Another effect continually utilized in the movie is that of point-of-view shots in relation with erratic and abrasive editing. For instance, in the scene with the car that has an abundance of explosives in its trunk, the camera switches POV shots rapidly. Through doing such, a sense of immediacy is conveyed to the audience, especially when the POV of the enemy Iraqi soldier is taken. These point of view shots are also used in conjunction with uncomfortable close-ups of the movies main character. By rapidly moving to a restricted close-up, we as the audience become anxious. Such anxiety is the result of our suspense from no longer holding any sort of omniscience in regards to what may or may not happen. To elaborate, when taken with the point of view of the enemy, we know what is to happen. But, when forced to solely focus on Seargent James’ face we are as ill-equipped as he, if not more so, to determine what lies in the future.
In addition to the above, Bigelow films the combat scenes in real-time, thereby placing us in the battle. Unable to register every movement due to the speed of things, we as the audience are immersed in the panic of battle. Furthermore, rapid pan shots add to the urgency of such scenes, as if we are looking around the landscape.
These effects engage the audience in the enthralling and horrifying experience that is live warfare.
Viaggion in Italy Screening Notes
Denotation: In the car ride introduction to the movie, there are extended shots of the various houses making it appear as if we, the audience, are the ones looking out the window of the car. It is giving us the perspective of our protaganist.
Connotation: It is immediately understood that the man and woman presented to us immmediately at the beginning of the movie are involved romantically because we automatically associate two characters on screen to be a "pair" together. Before anything of their romance is spoken, the line "I didn't think it would be so boring if it was just the two of us together." clarifies any potential ambiguity.
Myth Production: On arriving at the uncle's house, the two main characters are elaborately and ornately dresses, thereby distinguishing themeselves as outsiders and therefore communicating that they are uncomfortable in their new setting. By using costumes, the director showed their "outsider" status.
Psycho Screening Notes
Masculin Femenin Screening Notes
In Gordard's Masculin, Femenin, it is quite apparent that it is not a film made with western tendencies. In subtle rebellion to the institutional mode of representation there are several moments which highlight it's more obvious strays from "traditional" film-making.
Most obvious of these strays, to me, is the scene in which Paul is interviewing a Parisian woman at a window. In a typical Hollywood picture, at the very least both characters would be shown when they were speaking. However, Paul's face fails to appear throughout the entire survey he gives the woman. Rather, the camera is focused on a shot of the woman and does not change regardless if she's speaking or not. Generally, the location would be known to the audience as well in western cinema, but such is not given with Gordard, and just as well the woman's character is never explained to the audience. In fact, not only is her character never explained but the entire scene begins with an unexplained and abrasive scene change that is seemingly unrelated to the prior scene. The audience is never given the woman's identity, whether she's a mere stranger, an aquaintance, or a family member.
Another moment which stands out among the movie is the laundry scene in which Paul is pacing back and forth. During this scene, Gordard repeatedly changes camera angles causing so much disorientation, for myself, that I was unsure just what side of the room Paul was standing on, in other words, Gordard devastated 180 degree rule for the camera. In addition to the perpetual camera movement, background noises were amplified to the point where they would actually compete with Paul's dialogue for my central focus. A clear and interesting break from Hollywood's style, where background noises are kept at a very low droll, but certainly never completely absent, also unlike Gordard, most notably in the several restaurant scenes throughout the movie.
One dining scene in particular is where Paul and his friend are sitting alone at a booth by the window. Once again, Gordard, in comparison to western films, increased the background noise, perhaps to create a more realistic environment. During said scene, Paul's friend goes to "borrow some sugar" from the pretty girl at the booth in the back and during so evaluates the girl's breast. In response, Paul then does the same thing. While sex is by no means absent from American film, there are two very unique Gordard elements to this scene. One, is that the woman was not able to be seen by the audience until Paul's friend rose from his booth to "borrow sugar". The second, is that the camera did not show Paul doing the same thing but rather focused on Paul's friend in the booth the entire time Paul was embarking on his adventure.
Movie Screening: The Grapes of Wrath, Truly Cinematic Moment
A cinema moment, as in only capable of being portrayed by film (for no other artistic medium is able to capture said moment in its entirety) in Grapes of Wrath is most adequately presented in the scene where the family gathers around the dinnner table and discusses moving out west in order to find work and possibly gain their old life back. More specifically, the moment I'm thinking of is when the Grandpa reflects on moving out west and eating fruit. The variation in his tone, the food falling off of his face, and the expression of utter excitement at the prospect of his possible escape from the relentless Dust Bowl, all combine to achieve a masterful work of art, a work of art that is only transferable through cinema. This is because only a movie would allow the viewer to witness his tonal variation, sloppy eating habits, and facial expression all working together simultaneously.
Movie Screening: The Grapes of Wrath, Truly Cinematic Moment
A cinema moment, as in only capable of being portrayed by film (for no other artistic medium is able to capture said moment in its entirety) in Grapes of Wrath is most adequately presented in the scene where the family gathers around the dinnner table and discusses moving out west in order to find work and possibly gain their old life back. More specifically, the moment I'm thinking of is when the Grandpa reflects on moving out west and eating fruit. The variation in his tone, the food falling off of his face, and the expression of utter excitement at the prospect of his possible escape from the relentless Dust Bowl, all combine to achieve a masterful work of art, a work of art that is only transferable through cinema. This is because only a movie would allow the viewer to witness his tonal variation, sloppy eating habits, and facial expression all working together simultaneously.
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