The Equation - Link/Evaluation

The Equation

Evaluation

Our production got an A-

Brief:
Although our brief was a very simple and generic task of a character walking into the room and talking to another character across the table. I believe that we were able to go one step further and create something that was a lot more detailed and expanded than the original brief. Our production consisted of a hostage character being interrogated and tortured by a Mafia style gangster. Our main idea was started from that and we decided to use the famous Reservoir Dog torture scene as inspiration.

Planning:
In terms of planning, I think our group worked exceptionally well as we were able to efficiently finish the shot list, storyboard, script in a couple of days after it was tasked. We had initially decided to finish the planning a couple of days before the deadline and didn't want to be in the position where we would be working on it the day or night before. This was effectively done as we had a lot of communication between us as a group and we had quickly split the work load between us all. This helped to create a smooth and efficient work flow which in the end was very helpful especially when it came to our filming as we had essentially got a very solid idea together and were able to go through with it with confidence.

Strengths:
There were quite a lot of different areas where our production was strong, one of the strengths was the point of view shot that we had of the hostage, where we only saw the interrogating character. This helped to easily suture the audience and create a sense of hostile intimidation as it looked like the character was actually threatening the audience. This was very effective and all thanks to our amazing actor Izaaz who through his performance was really able to bring out the menacing personality of the character that we wanted to portray. We also made the production look very realistic through the use of make-up, iconic prop and stereotypical costume, the simple use of a dark attire and red tie was able to give the sense of the Mafia style boss of the character. There were also a lot of good camera work and framing, such as the pan from the close up of the hands and feet tied to the medium shot of Izaaz taking off his jacket. Also, the non diegetic sounds in the background were also parallel to the plot and theme and we were also able to put in the small idea of contrapuntal through the scene where the bodyguard was listening to contrapuntal music. Something that I personally am very proud of is the editing cut used at 1:40 when Izaaz takes off the scarf and it cuts to another shot from a different angle but the cut is heavily dependent on the scarf across the frame and uses it as a wipe. This technique I'm very proud of as I have always wanted to do this type of technique and learnt it from watching my favourite movies of Edgar Wright who is one of my favourite directors. Finally, we were also able to create a lot of enigma and action codes such as Izaaz cracking his knuckles, taking his jacket off and taking his ring off. The use of close ups and silence in the beginning helped to slow down the pace and create tension which I think was very effective.

Weaknesses:
Although, I personally I am very proud of this production, I still am adamant that it could have been improved and made thoroughly better. One of the main weaknesses was the breaking of the 180 degree rule. This was very disorientating to the audience and I think is something that we need to work on much more and worry about in our future productions as it is a convention that is very heavily used and impacts the audience a lot. Another weakness was that our violence, although was very clear through the use of prop and make up, it wasn't very clear through the actions as the punches thrown seemed weak and fake as there was little to no reaction from the victim. Finally, another factor that could have been improved was the audio levels and the intensity of the lighting. As we filmed on different days, we had trouble with keeping the lighting consistent which is definitely something we can work on, also the audio levels were inconsistent as the microphone would generally pick up a lot of the surrounding static noises which we could work on in post-production and reduce it manually. 

Film Language test learner response

WWW: Some original, fluent writing, using terminology well
EBI: Re-do Q1 doesn't focus enough on mise-en-scene (CLAMPS)



Mise-en-scene
What does the mise-en-scene suggest about the characters and events in the film? [12 marks]

The mise-en-scene shows the first character presented is sitting down slumping and this could suggest how he has given up. Through the use of costume and make up, we clearly see that Keaton is made up to look utterly defeated and beaten up. Furthermore, through the same use of costume, we see that the killer is shown in a long black over coat with a hat which is a classic "ominous" costume used in the noir genre.

Through the use of props such as the gun, the shots of ships and several dead bodies, we are presented with the classic iconography of the stereotypical gangster and crime genre. This helps the audience to easily understand the atmosphere and plot as it uses conventions from the specific genre.

The lighting is also very effective as there is the use of low key lighting which is again typical of the genre and suggests the thrilling nature and atmosphere of the characters and events. This use of lighting is further used as the killer is always in a silhouette which helps to hide his intentions and also his identity.

Finally, another way the mise-en-scene shows suggestions about the characters events is through the use of the actor's movements, as we see very slow and deliberate movements from the killer which shows that he controls the pace of the narrative and has immediate power of Keaton. Also because Keaton doesn't move and is always in either a close up or medium shot, this suggests how he is trapped in both the setting and frame and that his death is inevitable. 

Preliminary - Planning

Group: Mandev, Ladan, Rashida, Sunny

Script

https://docs.google.com/document/d/1DgD9M2XEBpGV9ATj8p-fyq0aQ97guIlP8exSSw3UeDE/

Shot list

https://docs.google.com/document/d/1mJ6D6bFnGw6_CBpdAdQLKJCoQE_PHJIXPUvujN6VX_k/

Storyboard

https://docs.google.com/document/d/19OcWuU9eRNXq2rmLzD_BICmW2GMUD4EaRvY-e8QcYyU/

Media awards

Labrat

Mise en scene

The mise-en-scene is very important and used effectively in this production. We see a young teenager in front of the camera narrating his story in the past tense in normal teenage clothing in the form of a video diary, as if we are watching his personal "vlogs". This helps us the audience to identify with him very easily and as the narrative develops makes his retelling much more personal and intimate with the audience, effectively suturing us into the narrative with great ease.

The teenager then changes his costume to a stereotypical lab coat which is a great use of iconography and prop to highlight the importance and significance of chemistry in the narrative as we then go on to see a variety of shots of chemistry props.

Through the mise-en-scene, we the audience are immediately able to identify the atmosphere and genre of the production which is a serious drama.

Cinematography

The cinematography is also well used as there are a variety of close ups such as the close ups of the character and the props when he is in the chemistry lab. This helps to easily show the focus of these objects from the character's point of view and also again sutures the audience into presenting their entire focus on the objects. Through the use of close ups on the character we are able to easily see his emotions through the actor's facial expressions and makes the production a lot more emotional and easy to relate to.

There are also a variety of medium shots which are used to establish the setting and as in the frame the medium shots, there is a balance between the focus of the character and setting. This is very effective as also a transition between close ups but more importantly it shows the character's emotions through the actor's actions, such as when he is reading in the library but throws away the book which shows the audience his sense of frustration.

Editing

The beginning of the narrative used a lot of continuity editing to easily display the seamless flow of the narrative to the audience. However, near the end this editing turned into a sort of montage sequence of shots of the chemical props and condensed the events of a long period of time (like an experiment) in a short amount of time. This montage showed the audience an idea of a type of opening sequence to their production and helped to added a sense of grandeur.

The most commonly used cuts and transitions in this production were simple straight cuts. The simplicity was used very effectively and makes the narrative flow seamlessly. There was also the use of fade outs and fades in which helped to signify the idea of a flashback and added a certain uniqueness to the narrative as we saw shots of the past whilst the character narrated from the present.

Sound

There were a variety of diegetic and non diegetic sound used in this production. For example, there was the use of diegetic sounds of the birds overlaying the shots of trees helped to set the setting and calm atmosphere. This was then followed by non-diegetic music which was also soft, calm and peaceful. However, the use of these two created a contrapuntal mood and atmosphere as we see a lot of frustration and emotional anguish in the character which is completely opposite to the music used which although does create a serious mood, it is unusual to see calming music behind this narrative, which is very effective in grabbing the audience's attention.

Trace

Mise en scene

The mise-en-scene is also used effectively in this production. We first see the variety of establishing shots of London to immediately help set the setting and the location of the narrative. We then see a medium shot panning shot of a mysterious body lying down in a cramped space. This helps to set the genre of mystery and drama to the narrative and immediately creates a variety of enigma codes for the audience to try and solve. The process of adding these enigma codes sutures the audience into the narrative. The shot then changes to show a medium shot of two young teenagers sitting and talking. There is the use of iconography and props such as the mobile phones which help the audience to identify with the idea of youth. There is also another variety of props used to signify this youthful cast such as skateboards and hoodies and cigarettes, which could essentially connote to the idea of violence and rebellion.

Through the mise-en-scene, we the audience are immediately able to identify the atmosphere and genre of the production which is a serious and mysterious drama.

Cinematography

The cinematography is also well used as there are a variety of medium shots and tracking shots. The tracking shots help to keep the characters and actors in focus and centre of the frame, it is this focus that helps to keep the audience's attention to the narrative and characters. There are also a variety of medium shots which are used to establish the setting and as in the frame the medium shots, there is a balance between the focus of the character and setting. We see a lot of establishing shots used which is effective especially in the Las Vegas scenes, as we see a lot of different iconic settings and locations to a certain culture and location. This helps the audience to identify much more easier to the settings.

Editing

The beginning of the narrative used a lot of continuity editing to easily display the seamless flow of the establishing shots to the audience. The most commonly used cuts and transitions in this production were simple straight cuts. The simplicity was used very effectively and makes the narrative flow seamlessly. 

What was unique about the editing in this production was that there were also the use of cut to black, this was especially effective when the cut imitated the idea of one of the character covering the body's face, and was shown through the fact that the actor covered the camera. 

The opening sequence used to introduce the characters was also unique as this was in the form of a montage. The montage sequence started off with a blur off and introduced each character with a close up and edit of their shot. There was also the use of multiple quick cuts which was parallel to the music and again helped to create the sense of urgency and haste.

Sound

There were a variety of diegetic and non diegetic sound used in this production. For example, there was the use of diegetic sounds of the dialogue between the two characters, what's unusual is that there is no diegetic sound used to overlay the establishing shots as there is complete silence. However, this could also be effective in the sense that it creates a "deafening silence" and keeps the audience guessing and expecting something. 

This was then followed by non-diegetic music which was very fast and with loud sounds. The use of this created a parallel mood and atmosphere as we see a lot of movement from the two characters which helps to immediately establish the idea of haste and urgency. Finally, the production finishes with diegetic classic swing music in the Las Vegas scene which is again parallel to the setting and "juke box diner" feel.

Editing

Hot Fuzz

In the intro of Hot Fuzz, the director Edgar Wright uses interesting and unique scene transitions to create a simple yet effective montage which helps to establish the main protagonist of the story to the audience. The scene begins with a wide shot from the point of view of someone sitting at the reception of the police station. We see the protagonist arriving and walking up to the reception desk with a strong and determined stride. Furthermore, there is a subtle use of back lighting to create the effect that he is walking towards us from a sunset, which strongly reinforces the audience's idea of a stereotypical hero and protagonist. 

The protagonist then walks up to the camera and the camera zooms into a close up to show us his identification card. This is a a very interesting and unconventional way of introducing the protagonist to the audience, what's more is that Wright uses this small introduction and turns it into visual comedy as the protagonist has the same serious face that he uses in his identification photo. 

The director then uses a number of various profile tracking shots with a mix of transitions to zoom into the protagonist's face. The profile photo is unique, as the frame makes it look as if it is from the point of view of the people in the office who are looking at the protagonist walking in. The way he uses transition is very unique, for example, when there is the tracking shot of the protagonist walking down the offices, we will occasionally see people walking in front of the camera, which is something that Wright utilises and uses each person that walks past as a wipe transition to a tighter frame. These tighter close ups are much more focused on the small details of the character, such as his lapels which are a stereotypical connotation of a police officer. Another form of transition that Wright is most commonly known for is that the camera will move away from the object in the frame and that transition will seamlessly flow with another shot where the camera moves from something blurry to the object in question, in this case, the protagonist.

He uses this technique again as he utilises the situation of the protagonist to visually make the scene less bland but much more unique, for example, when they show the protagonist running through the bags hanging, he uses the bags flailing around as a wipe transition when they cover the entire frame, because no one really wants to see a few empty frames of nothing so instead he uses this opportunity to transition to another scene with more detail and story. These short and repetitive cuts increase the pace of the scene in general. He also uses shaky camera when it is appropriate to the situation, for example when the protagonist is put into the riot control situation, there are a lot of flashes and shaking of the camera which help to signify the violent and aggressive tone presented in the scenario.

Wright also uses matching scene transitions in his intro, such as when the camera is zooming into the protagonist at the desk which then cuts to the protagonist receiving his award and the camera zooms away. In between these two shots, there is a flash which is coming from the cameras taking his photograph, the director subtly uses these flashes as a very quick straight cut which gives us the sense of how it is a montage and generally helps to set the pace of the scene. The pace is rapid and fast, which easily helps to condense the background of the protagonist but is also simple enough that the audience is easily able to understand and comprehend everything that is being said about him.

The scene where is walking up the stairs is unconventional because of the fact that the camera is placed behind the stairs which visually impairs the audience's sight, but the camera still tracks the protagonist as he walks up by tilting the camera up, what's even more unique is that it tilts back down and away from the protagonist to transition to another scene.

We then see the protagonist talking to two people in a medium shot where he is in between both of them, and the scene transitions to another scene where he is talking to another two but different people and is standing in a different location but in the same way. The fact that these two scenes match again shows the idea of a flowing narrative and instead of juxtaposition, it creates a complimenting idea between them both. This technique of matching scenes and continuity edits is used again but in a different way when we see the protagonist taking part in different sports, the protagonist is presented in the middle of the frame of the same location but the scene is rapidly changing to show to the audience the variety of the protagonist's personality and consistent success.

Overall, Wright uses a consistent and various amount of different medium and close up shots, when he does use the close up shots its mostly to show the details of the things going on, for example when the protagonist is arresting someone, we see a close up of hands in handcuffs. This is effective as we don't see a full story but flashes of small images that we as the audience can make connections between ideas for example, we specifically visualise and represent handcuffs to police work. Wright also uses many transitions where the camera moves away from the object or zooms out and zooms in, which easily help to set the rapid pace of the scenes being presented and easily helps to condense the narrative down into a montage.

Cinematography

Scott Pilgrim vs The World

The sequence starts off with the main character conversing with his girlfriend Knives at the door, the camera cuts back and forth between the two during the conversation to show a sort of "ping pong" effect of conversation which makes the dialogue fast and witty, therefore adding a small amount of humour into it. During this part, the frame is at a close up to show that they are the only two in the conversation and helps the audience focus on both of them. 

The dialogue ends quickly with a medium shot of the protagonist in the left side of the frame. Edgar Wright, the director, very cleverly uses this as a way to introduce a new character in the shot. He does this by making use of the empty space in the frame caused by the door and allowing the third character to open the door for a reveal of Stephen Stills. 

The camera then cuts to the other side of the door where a medium shot is used to show both the protagonist and Stephen. The camera then zooms into a close up of the two which signifies the idea that the dialogue the two have is confidential between the two. This has a very significant effect on the audience as we believe we are in on their secret as the camera is very close to both of their faces. The camera then zooms back out to show a medium shot of all three characters. Furthermore, the shots where the camera is behind the door are taken from a high angle shot which gives the audience the sense that they are actually in the scene as if they are looking over the character's shoulders to see who is outside.

A pan shot is then used to show that Knives is entering the room, this makes the audience relate more to her as the camera is always either focusing on her or using mostly her perspective. This gives the idea that like Knives, the audience is also being introduced to the entire cast of characters and listening to the band play for the first time.

There is another panning shot which first starts off from Scott and then quickly pans to Stephen. The shot then refocuses to Kim who is behind Stephen. It is almost as if the camera follows the dialogue in a linear format, which can be suggested is what the audience and Knives instinctively do. This makes a very comfortable scenario as it is what the audience is used to. The shot then focuses on Kim but as she shouts "One! Two! Three! Four!" the camera zooms in tighter into her with every exclamation. This use of sudden zoom signifies a sense of fast paced urgency and the audience automatically expects something big and loud.

There are then several tight close up shots of the instruments. What's interesting to note is that director purposely chooses to do close ups of not just the instruments but the parts which are making the noise, so we as the audience are really being made aware of the sound rather than the instruments themselves. During these various shots, we see medium shots of Neil and Knives who are watching the band play. These are used as a shot/reverse shot technique where we see the two watching and then we see shots of what they are watching. This allows the audience to get sutured into the scene and atmosphere. There is then an unusual tracking shot, as unlike normal tracking shots which are anchored to a character and zoom in, this shot is anchored to the band and zooms out, which in turn also causes an unusual elongation of the setting. This scene is also very theatrical in the sense that it is presenting the band to the audience as an attempt to be a dramatic or impressive entrance.

After the credits, we see a lot of shot/reverse shots again, with the focus being Knives. We see what she is seeing and then there are various shaky shots of the band playing music, the shaking is effectively used to mimic and link with the nature of the music in the background. There are a few more close ups of Knives to over exaggerate her awe at the band to show that she really does think they are amazing and creates a sense of humour for the audience as well.

Sound analysis

The Dark Knight

There is a variety of diegetic and non diegetic sound in this movie clip of The Dark Knight by Christopher Nolan. As the antagonist, the Joker, falls out the overturned truck, the audience hears a variety of sounds from him that are of him struggling which show how he is having difficulty getting back on his feet. As he does, he accidentally fires from his gun. The gun shots are also diegetic and are present later on in the scene as well. As the Joker starts to walk forward, the dialogue that is present is very quiet and to himself. The actor uses a tone which makes him sound very playful and threatening, immediately showing to the audience his sinister and sadistic personality. His dialogue is actually increasing in both volume and aggression as he continues to say "Hit me" waiting for the Batman to hit him with his motorcycle, and as the Batman gets closer and closer, the Joker's dialogue gets louder and louder.

The non diegetic sound is the music in the background which is also acting as a crescendo of strings which creates a build up of tension. The music keeps getting louder and louder in the background as the Joker is asking to be hit, but falls to silence when the Batman crashes. However, the music starts to build up once again as the Joker walks to the Batman to slightly imitate his slow walk towards the protagonist which again amplifies the Joker's sinister motives.

There are also other diegetic sounds such as the electric zap from the Batman's mask and the masked thug's squirming as he is zapped. This causes a reaction from the Joker who begins to kick the man and make gibberish sounds before spitting on the fallen man, which greatly encourage the audience that the Joker is in fact quite literally a maniac or a lunatic. Finally, other diegetic sounds are the cocking of James Gordon's shotgun which create an idea of the Joker's inevitable capture.

The music changes when we see the conclusion that the Joker is taken down by James Gordon the police commissioner. The music changes to a heroic swell to symbolise the idea that James Gordon has saved the day by taking down the antagonist.