The opening five minutes of a documentary must hold several captivating necessities, to draw in the attention of the audience.
-Opening scenes must 'capture the audience' as quickly as possible
-The central question of the documentary has to be posed at the beginning in order to communicate to the audience what the prgramme is about. eg:
Why is Britain the teenage pregnancy capital of Europe? Will we survive the double dip recession?
Some quick snippets of interviews with good responses to draw the audience in.
-Incidental music or even a soundtrack relevant, song should usually accompany the sequence. But must not override the voice over.
-Titles are important, and announced in some dramatic form.
-Actuality: Filming real events as they happen. May need archive footage.
-Fly On the Wall: Film real people as they do real things focusin on their lives, with genuine conversations.
-Voice Over: Most documentaries have a voice over, a narration of what the programme is about, giving key information and introducing the topic of debate.
-Graphics: Use graphics with written text. Maps, drawings, photographs can be incorperated. Also appear with banner e.g introducing the interviewee.
Thursday, 28 June 2012
Wednesday, 27 June 2012
Analysis of a music video: Lana Del Rey- Born To Die
For our research into music videos we were selected the 2012 song 'Born To Die' by Lana Del Rey to analyse. The video itself being both a performance and narrative piece we expected there to be a general plotline involving the singer herself (which indeed was the case). Furthermore the song's title 'Born To Die' was in fact the inspiration behind the video as we predict our main protagonist's lives to end in tragedy and destruction (the video itself touching upon death and religion). As well as this, the video's non linear structure assists in evoking a sense of intrigue from the audience towards the somewhat ambiguous storyline.
Our opening scene introduces our two lead protagonists in a somewhat non narrative sense. Beginning with a medium long shot the camera slowly zooms forward depicting the male and female characters in a semi-nude embrace in front of a rippling American flag (a symbol for both their patriotic roots and their connection with the 'American Dream'). As they are partially naked it may be inferred of the sexual relationship between the pair; Del Rey appearing delicate and innocent contrasting indefinitely with the tattooed rebellious looking male.
We are then transported into a typically grandeur religious building (possibly that of palatial Roman origins) through a camera tilt. Revealing Del Rey again sitting upon a throne in white angelic clothing and also guarded by two tigers; this being symbolic for her wealth and most likely upper class roots within the plotline. We later learn that this church is in fact a metaphoric heaven as Del Rey portrays such avirtuous, dream-like appearance.
Our next scene presents the beginning of our narrative confirming with an establishing shot that the two previous characters are together to fulfil the 'American Dream' . Once again embracing, the body language states that the two are running away together and that the rebellious male is taking the class female away inside his car.
Broadening from the basic narrative throughout the video, we can later see a two shot close up of the runaway couple kissing and dispaying sexual affections towards each other. It is evident to see that the two are trapped in a passionate love with each other. However, it is also obvious that the male has a negative effect on the female, as if being a bad influence towards her and tainting her innocence. Hinting towards their self destructive pathway and his stereotypical bad boy image.
Another hint foreshadowing their futures is that of quick cuts to the couple arguing, the mae in particular acting in a peculiar and threatening manner. A short clip reveals the male gesturing towards Del Rey's head in a gun like motion, which eludes to the belief that he will be the death of her. As well as this, these smaller snippets suggest the slow breakdown of their American dream.
An alternative hint towards their demise is that of segments of the pair in bed, filmed at a high angle shot to almost confirm the female's helplessness. From their body language their is certainly tension as Del Rey lies with her body away from the male, with a blatent facial expression of resentment; whereas the male faces towards Del Rey whilst his fingers caress her neck. At first glance this may be denoted as a sexual gesture however an alternate interpretation hints towards that of him being the death of the female protagonist.
Through a later segment it is easy to notice the imminent danger which the couple face with a police car chase. With an over the shoulder shot, the female glance over at the male driving as they are pursued by police cars, as he is the one who is instigating the trouble. The red and orange lighting from the police car is also a symbolic trait for danger, as if a warning of the dangers ahead.
When we are then cut back into the calm church building a close up of Del Rey's angelic persona connotates death with a singular gesture of her thumb across the neck (a common motion of 'murder). This is the first time the character herself portrays a signal of death, confirming that the previous scene is a signal for the trouble they faced. Accompanied with the lyrics 'We were born to die'.
Later on we are shown a medium long shot of Del Rey's character crossing a corridor of lights flashing on and off. This may be inferred to be purgatory as the character finds herself lost in a setting of both darkness and light (following the lights ahead). Her attire of a lace white dress also gives a sense of ghostly angelic qualities with her, once again hinting towards her death having took place.
The very final scene is in fact the opening scene repeated, this time with an almost ironic effect, as the two characters despite being originally symbols of love and patriotism, achieved nothing but self destruction and the opposite of the American dream.
Our opening scene introduces our two lead protagonists in a somewhat non narrative sense. Beginning with a medium long shot the camera slowly zooms forward depicting the male and female characters in a semi-nude embrace in front of a rippling American flag (a symbol for both their patriotic roots and their connection with the 'American Dream'). As they are partially naked it may be inferred of the sexual relationship between the pair; Del Rey appearing delicate and innocent contrasting indefinitely with the tattooed rebellious looking male.
We are then transported into a typically grandeur religious building (possibly that of palatial Roman origins) through a camera tilt. Revealing Del Rey again sitting upon a throne in white angelic clothing and also guarded by two tigers; this being symbolic for her wealth and most likely upper class roots within the plotline. We later learn that this church is in fact a metaphoric heaven as Del Rey portrays such avirtuous, dream-like appearance.
Broadening from the basic narrative throughout the video, we can later see a two shot close up of the runaway couple kissing and dispaying sexual affections towards each other. It is evident to see that the two are trapped in a passionate love with each other. However, it is also obvious that the male has a negative effect on the female, as if being a bad influence towards her and tainting her innocence. Hinting towards their self destructive pathway and his stereotypical bad boy image.
Another hint foreshadowing their futures is that of quick cuts to the couple arguing, the mae in particular acting in a peculiar and threatening manner. A short clip reveals the male gesturing towards Del Rey's head in a gun like motion, which eludes to the belief that he will be the death of her. As well as this, these smaller snippets suggest the slow breakdown of their American dream.
An alternative hint towards their demise is that of segments of the pair in bed, filmed at a high angle shot to almost confirm the female's helplessness. From their body language their is certainly tension as Del Rey lies with her body away from the male, with a blatent facial expression of resentment; whereas the male faces towards Del Rey whilst his fingers caress her neck. At first glance this may be denoted as a sexual gesture however an alternate interpretation hints towards that of him being the death of the female protagonist.
Through a later segment it is easy to notice the imminent danger which the couple face with a police car chase. With an over the shoulder shot, the female glance over at the male driving as they are pursued by police cars, as he is the one who is instigating the trouble. The red and orange lighting from the police car is also a symbolic trait for danger, as if a warning of the dangers ahead.
When we are then cut back into the calm church building a close up of Del Rey's angelic persona connotates death with a singular gesture of her thumb across the neck (a common motion of 'murder). This is the first time the character herself portrays a signal of death, confirming that the previous scene is a signal for the trouble they faced. Accompanied with the lyrics 'We were born to die'.
Later on we are shown a medium long shot of Del Rey's character crossing a corridor of lights flashing on and off. This may be inferred to be purgatory as the character finds herself lost in a setting of both darkness and light (following the lights ahead). Her attire of a lace white dress also gives a sense of ghostly angelic qualities with her, once again hinting towards her death having took place.
Our final scene leaves us with a sense of ambiguity as it may be characterised into three meanings. The scene itself depicts the male character in the foreground holding the bloody corpse of his lover, both of whom are semi nude; whereas the background shows darkness contrasts with red flames swaying in air. The first interpretation may be that this scene is indeed reality and shows the wreckage of a car crash which lead to the female's demise proving that he did in fact murder his lover in the end. Secondly, the next interpretation may be that Del Rey's outcome from purgatory was that she was sent to Hell for doing such corrupt deeds. However, the final theory is that of the male character being put into Hell faced with the guilt of killing his lover for all eternity, contrasting indefinitely with Del Rey's character who was sent to heaven as she is of course innocent.
Tuesday, 26 June 2012
Analysing a Short Film- Craig Dean Devine's 'This is Life'
Upon looking at the preferences of particular short films we set our sights upon analysing the work of Cinematographer Craig Dean Devine. The piece which we concentrated on was that of 'This Is Life' an almost biographical piece by Devine himself. The story itself is based within a lower class area and focuses on the world of a dysfunctional family who are trying to mend their past, living the 'idyllic' lifestyle. As well as this much of the biopic concentrates on the story's young male protagonist Dean, who finds it tough to bond with his reforming criminal father.
Mise En Scene
During the opening scene of the short film we are introduced inside the central family home along with the young male school boy, his sister and their mother. From the way in which each character is dressed in morning attire such as dressing gowns we know instantly that it is early morning, almost as if it were a new beginning for the family as their 'Dad's coming home'. Later on as the protagonist's elder sister picks him up from school we may see their open body language and closeness to each other. As they travel the streets inside of a shopping trolley we can also denote that the storyline is set within a lower class area, for instance their front garden has a pile of rubbish upon it.
When first introduced to the protagonist's father he is dressed in dark colours and can be seen smoking a cigarette, as if he were a character coming from curious circumstances. Despite the father being openly affectionate towards his son there could be said to be tension on the young boy's behalf, seeming reluctant to speak to or embrace him. During the next scene the family sit together in front of a television eating their dinner, another stereotypical lower class thing to do.
Furthermore, the next scene we may see the divide between father and son through the barrier in between the characters, hinting towards the father character's criminal background. As well as this the only way in which they bond is through illegally driving the car together, the characters body language being much more open and positive. Due to the family atmosphere being noted beforehand, the adult parental characters later argue during the night, something which audience members may empathise with as this is a typical family occurance for most.
As the father character wears mostly darker clothing throughout the production much could be said for its connotations, our suspicions are later confirmed as the figure talks to a worker about his criminal past and quest for forgiveness
Camera Angles:
There are a variety of camera angles used throughout Craig Dean Devine's 'This Is Life' which helps the audience recognise general quirks and parts of the storyline. The opening scene is introduced with the use of an establishing shot, in the typically middle class kitchen, indicating all of the key characters, general family background and the time of day. Most of the production is filmed using the hand held camera option, creating a similar feel to that of a fly off the wall documentary, like the drama is unfolding in front of your eyes.
Later there are also ranges of pans along with long shots denoting the close relationship between the young boy character and his elder sister (the two having fun pushing one another in a shopping trolley). Simply through the introduction of the young protagonist's father we may notice their non existent relationship. An over the shoulder shot from the father's point of view also adds a hint of mystery towards his identity. Their relationship is also more evident as they embrace and we may see the father's distraught face in a close up.
Later on a low angle shot of the father figure being interrogated is used, giving the audience a chance to focus on him and his previously hidden background. A low angle shot is also used later on when the character's bond and hold each other in a loving embrace.
Sound:
Music is regularly played in the whole of the sequence, the most frequent being that of non diegetic incidental music of a acoustic guitar and violin; these are often used in scenes of action, for example, Dean and his sister running with the trolley and Dean and his father's boxing match. The young protagonist Dean has little dialogue within despite being the most prominent character, the larger amounts being given to his father as we need to learn more about his past.
Editing:
Devine uses a few editing techniques in this piece the first most obvious being the match on action between the Mother character and the kitchen, denoting the family routine. Another editing method are the many shot-reverse-shots used especially between Dean and his father, as we slowly watch their relationship grow. Jump cuts are used, in particular the moment in which we are transported from the family kitchen to Dean waiting outside the school gates, showing passage of time. Slow motion is also used in the boxing sequence as helps us recognise the happiness between the characters and the happy upcoming ending.
Mise En Scene
During the opening scene of the short film we are introduced inside the central family home along with the young male school boy, his sister and their mother. From the way in which each character is dressed in morning attire such as dressing gowns we know instantly that it is early morning, almost as if it were a new beginning for the family as their 'Dad's coming home'. Later on as the protagonist's elder sister picks him up from school we may see their open body language and closeness to each other. As they travel the streets inside of a shopping trolley we can also denote that the storyline is set within a lower class area, for instance their front garden has a pile of rubbish upon it.
When first introduced to the protagonist's father he is dressed in dark colours and can be seen smoking a cigarette, as if he were a character coming from curious circumstances. Despite the father being openly affectionate towards his son there could be said to be tension on the young boy's behalf, seeming reluctant to speak to or embrace him. During the next scene the family sit together in front of a television eating their dinner, another stereotypical lower class thing to do.
Furthermore, the next scene we may see the divide between father and son through the barrier in between the characters, hinting towards the father character's criminal background. As well as this the only way in which they bond is through illegally driving the car together, the characters body language being much more open and positive. Due to the family atmosphere being noted beforehand, the adult parental characters later argue during the night, something which audience members may empathise with as this is a typical family occurance for most.
As the father character wears mostly darker clothing throughout the production much could be said for its connotations, our suspicions are later confirmed as the figure talks to a worker about his criminal past and quest for forgiveness
Camera Angles:
There are a variety of camera angles used throughout Craig Dean Devine's 'This Is Life' which helps the audience recognise general quirks and parts of the storyline. The opening scene is introduced with the use of an establishing shot, in the typically middle class kitchen, indicating all of the key characters, general family background and the time of day. Most of the production is filmed using the hand held camera option, creating a similar feel to that of a fly off the wall documentary, like the drama is unfolding in front of your eyes.
Later there are also ranges of pans along with long shots denoting the close relationship between the young boy character and his elder sister (the two having fun pushing one another in a shopping trolley). Simply through the introduction of the young protagonist's father we may notice their non existent relationship. An over the shoulder shot from the father's point of view also adds a hint of mystery towards his identity. Their relationship is also more evident as they embrace and we may see the father's distraught face in a close up.
Later on a low angle shot of the father figure being interrogated is used, giving the audience a chance to focus on him and his previously hidden background. A low angle shot is also used later on when the character's bond and hold each other in a loving embrace.
Sound:
Music is regularly played in the whole of the sequence, the most frequent being that of non diegetic incidental music of a acoustic guitar and violin; these are often used in scenes of action, for example, Dean and his sister running with the trolley and Dean and his father's boxing match. The young protagonist Dean has little dialogue within despite being the most prominent character, the larger amounts being given to his father as we need to learn more about his past.
Editing:
Devine uses a few editing techniques in this piece the first most obvious being the match on action between the Mother character and the kitchen, denoting the family routine. Another editing method are the many shot-reverse-shots used especially between Dean and his father, as we slowly watch their relationship grow. Jump cuts are used, in particular the moment in which we are transported from the family kitchen to Dean waiting outside the school gates, showing passage of time. Slow motion is also used in the boxing sequence as helps us recognise the happiness between the characters and the happy upcoming ending.
Monday, 25 June 2012
Codes and Conventions of short films
When writing a short film the way it is structured is different to a feature film. For many short films the structure is the most important thing in helping the film work properly and do what the film maker has intended to do.
They can either be:
-Experimental
OR
-Genre based
A good example of an Experimental film 'Un Chien Andalou' (1929) directed by Luis Bunuel.
Length:
This is important when thinking about your plot and structure as more can be done with more time. Typical short films are between four and ten minutes, but can be no longer than thirty minutes as any above is classed as a feature.
Plot:
Not a complete plot like in a feature film, short films tend to be a snapshot of the characters lives. Beginning and the ends of short films tend to throw the audience into the action. There is no need for complete character development. Think of a world, a character and a problem.
Without conflict there is no film. With the characters, who are they? What is their problem? How will the audience recognise this? There's a cause and effect relationship occuring in the time and space.
Overall:
Think that many short films can not be translated longer due to their structure, so keep it simple, substance over style.
They can either be:
-Experimental
OR
-Genre based
A good example of an Experimental film 'Un Chien Andalou' (1929) directed by Luis Bunuel.
Length:
This is important when thinking about your plot and structure as more can be done with more time. Typical short films are between four and ten minutes, but can be no longer than thirty minutes as any above is classed as a feature.
Plot:
Not a complete plot like in a feature film, short films tend to be a snapshot of the characters lives. Beginning and the ends of short films tend to throw the audience into the action. There is no need for complete character development. Think of a world, a character and a problem.
Without conflict there is no film. With the characters, who are they? What is their problem? How will the audience recognise this? There's a cause and effect relationship occuring in the time and space.
Overall:
Think that many short films can not be translated longer due to their structure, so keep it simple, substance over style.
Conventions of a contemporary music video
There are essentially three types of conventional music videos.
1. Performance based: i.e Live band performance
For example: JLS, Take That, Beyonce, Rihanna, U2, Lady Gaga, Madonna.
2. Narrative based: i.e: Where a storyline is evident
For example: Taylor Swift's videos.
3. Abstract/ artistic music videos: i.e Creative, artistic music videos
For example: Fat Boy Slim 'Praise You'
Most videos have a combination of both performance and narrative in a traditional sense.
Music videos often have the artist performing with some visual storyline interwoven.
Linkin Park- What I've Done
Beyonce- Irreplacable
Massive Attack- Teardrop
Live performance based are traditionally a bad idea and the synchronisation becomes a real problem.
Tips to make a music video:
a) Either make it completely abstract and artistic with no performances.
b) If there are performances have your artist mime the whole song in at least 5 well lit different locations.
-Make sure they mime the whole song start to finish
-Take the five seperate scene sequences and assemeble them on five different timelines
- Cut the video to the beat of the music as this should give you at least a rough cut of a performance in 5 different locations.
1. Performance based: i.e Live band performance
For example: JLS, Take That, Beyonce, Rihanna, U2, Lady Gaga, Madonna.
2. Narrative based: i.e: Where a storyline is evident
For example: Taylor Swift's videos.
3. Abstract/ artistic music videos: i.e Creative, artistic music videos
For example: Fat Boy Slim 'Praise You'
Most videos have a combination of both performance and narrative in a traditional sense.
Music videos often have the artist performing with some visual storyline interwoven.
Linkin Park- What I've Done
Beyonce- Irreplacable
Massive Attack- Teardrop
Live performance based are traditionally a bad idea and the synchronisation becomes a real problem.
Tips to make a music video:
a) Either make it completely abstract and artistic with no performances.
b) If there are performances have your artist mime the whole song in at least 5 well lit different locations.
-Make sure they mime the whole song start to finish
-Take the five seperate scene sequences and assemeble them on five different timelines
- Cut the video to the beat of the music as this should give you at least a rough cut of a performance in 5 different locations.
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