Friday, 27 December 2013
Wednesday, 17 July 2013
Wednesday, 10 July 2013
Film industry going into a meltdown
Meltdown
"Directors Steven Spielberg and George Lucas are warning that the film industry is in danger of "meltdown".
"Directors Steven Spielberg and George Lucas are warning that the film industry is in danger of "meltdown".
They say it will become increasingly difficult for them to get smaller films into theatres because Hollywood is relying on big budget releases.
In a speech reported by the Hollywood Reporter, Spielberg said Lincoln was nearly made for TV network HBO because of struggles getting it in cinemas.
Lord David PuttnamOur job is to satisfy the customers. I think a perfectly legitimate requirement is that they can see the film that they want to see and where they want to see it
"The pathway to get into theatres is getting smaller and smaller," he said.
"You're gonna have to pay $25 (£16) for the next Iron Man, you're probably only going to have to pay $7 (£4.50) to see Lincoln."
George Lucas added that he could see a model similar to theatre pricing, where fewer films were released, they stayed longer in the cinema (up to a year) and ticket prices increased depending on the film.
In an interview with Newsbeat, the president of the Film Distributors' Association, which represents the UK distribution arms of Hollywood studios, Lord David Puttnam, agreed that change was needed."
Tuesday, 9 July 2013
Microanalysis of Girl Interrupted
The micro fundamentals are vital to hold a film together as they allow a sequences to flow naturally. They work together to make the infrastructure within a sequence, as this is significant to the meaning. The main types are mise-en-scene cinematography, editing and sound. I have selected ‘Girl Interrupted directed by James Mangold in 1999 for my analysis. The scene in which I am going to focus on is the Strong scene, where we see the two main protagonists, and the death of their friend. I will be concentrating closely on how editing and the sound help to generate a meaning to the audience.
This scene is taken from midway through the movie where we are already familiar with the characters and their personas. The editing plays a key part in the microanalysis as the camera shows the two binary opposite characters, (Lisa and Daisy) the most through a series of close ups and mid shots. By doing this we have already established that some conflict will happen between the two as this will later on be important. The non dietetic western, cowboy sound that appears behind the two extreme close ups of Lisa and Daisy’s eyes staring into each other also show that some kind of showdown is going to happen. Not only does the close up shots of Daisy’s face allow us to see her emotions, but it also tells the audiences about her mental state and how she is always being portrayed as imprisoned and confined, along with her dialogue she uses. With Lisa on the other hand who is very aggressive, and loud, larger and long shots of her are also used to show this. Lisa has aggressive and interrogative tone, builds onto her careless character, which comes across as a bully, while Daisy is seen as exactly a pushover and tries to avoid the subject. To back this tension up even more, a sinister strain of non-dietetic music plays in the background while Lisa grills Daisy to really show her power and the camera tracks closer to her face. The lack of speech in Daisy’s voice shows her as the weak one in this battle.
Mangold continues to use music as a suspender, however this time it is diegetic as an old fashioned song is playing in the house on repeat. The song replays over and over again, which can be a interoperate as the constant struggle of Daisy’s life and how it follows a cyclic pattern of never ending. There is no dialogue here as such which adds to the tension of what is to happen next. The use of long drained out cuts builds to this as the audience is left hanging on what is to happen next. Cleverly the music appears to be cheerful, which eases us to think that nothing bad will happen, however this juxtaposes with the door at the end of the room being shut, which is a stereotypical sign seen in many other movies for danger. The sign of the black cat standing just by it also adds suspense as we now know that danger is just behind the door. Even before we see what has actually happened, the sound of Susan gasping tells us everything. The sound is a key element as it lets on hints even before they had happened, as with the music playing and now also with the characters dialogue. This is then supported by the wide shot used to show only a part of Daisy hanging with blood dripping down her arm. Using Levi Strauss theory of binary opposite characters in this scene creates the audience to not feel as worried as they should. As here again we have the calm, chilled out Lisa, who doesn’t show much interest in Daisy, compared to the panic, screaming Susan who is on the floor with emotions. This creates an unbalanced and confused impression as one shot is of Susan on the phone in a mess, cuts to another of Lisa casually looking at daisy in an odd fashion. We expect some level of indecency with Lisa, as this is shown as she takes Daisy’s money while she is hanging there. The way in which Mangold has edited it closely in sync with the sound, allows this scene to give off a different affect as to what you would normally expect. The upbeat music still carries on the background while everything happens. Towards the end it soon fades into another non diegetic empathetic stringed music as Susan is left alone with the dead Daisy and Lisa has left her.
The micro fundamentals are vital to hold a film together as they allow a sequences to flow naturally. They work together to make the infrastructure within a sequence, as this is significant to the meaning. The main types are mise-en-scene cinematography, editing and sound. I have selected ‘Girl Interrupted directed by James Mangold in 1999 for my analysis. The scene in which I am going to focus on is the Strong scene, where we see the two main protagonists, and the death of their friend. I will be concentrating closely on how editing and the sound help to generate a meaning to the audience.
This scene is taken from midway through the movie where we are already familiar with the characters and their personas. The editing plays a key part in the microanalysis as the camera shows the two binary opposite characters, (Lisa and Daisy) the most through a series of close ups and mid shots. By doing this we have already established that some conflict will happen between the two as this will later on be important. The non dietetic western, cowboy sound that appears behind the two extreme close ups of Lisa and Daisy’s eyes staring into each other also show that some kind of showdown is going to happen. Not only does the close up shots of Daisy’s face allow us to see her emotions, but it also tells the audiences about her mental state and how she is always being portrayed as imprisoned and confined, along with her dialogue she uses. With Lisa on the other hand who is very aggressive, and loud, larger and long shots of her are also used to show this. Lisa has aggressive and interrogative tone, builds onto her careless character, which comes across as a bully, while Daisy is seen as exactly a pushover and tries to avoid the subject. To back this tension up even more, a sinister strain of non-dietetic music plays in the background while Lisa grills Daisy to really show her power and the camera tracks closer to her face. The lack of speech in Daisy’s voice shows her as the weak one in this battle.
Mangold continues to use music as a suspender, however this time it is diegetic as an old fashioned song is playing in the house on repeat. The song replays over and over again, which can be a interoperate as the constant struggle of Daisy’s life and how it follows a cyclic pattern of never ending. There is no dialogue here as such which adds to the tension of what is to happen next. The use of long drained out cuts builds to this as the audience is left hanging on what is to happen next. Cleverly the music appears to be cheerful, which eases us to think that nothing bad will happen, however this juxtaposes with the door at the end of the room being shut, which is a stereotypical sign seen in many other movies for danger. The sign of the black cat standing just by it also adds suspense as we now know that danger is just behind the door. Even before we see what has actually happened, the sound of Susan gasping tells us everything. The sound is a key element as it lets on hints even before they had happened, as with the music playing and now also with the characters dialogue. This is then supported by the wide shot used to show only a part of Daisy hanging with blood dripping down her arm. Using Levi Strauss theory of binary opposite characters in this scene creates the audience to not feel as worried as they should. As here again we have the calm, chilled out Lisa, who doesn’t show much interest in Daisy, compared to the panic, screaming Susan who is on the floor with emotions. This creates an unbalanced and confused impression as one shot is of Susan on the phone in a mess, cuts to another of Lisa casually looking at daisy in an odd fashion. We expect some level of indecency with Lisa, as this is shown as she takes Daisy’s money while she is hanging there. The way in which Mangold has edited it closely in sync with the sound, allows this scene to give off a different affect as to what you would normally expect. The upbeat music still carries on the background while everything happens. Towards the end it soon fades into another non diegetic empathetic stringed music as Susan is left alone with the dead Daisy and Lisa has left her.
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