MDA1700 - Weeks 3-6 - The Hollywood Continuity System

The first part of our MDA1700 studies has been focusing on the 'Hollywood Continuity System'.
While a lot of the initial coverage of editing, continuity editing, sound and use of colour has been revising what I learned in A Level Film and Media, we looked at a lot of theorists, techniques and films in a more in-depth way than I had previously studied.

As the initial module content seemed like a natural progression from my A level studies, I found many of the newer terms and concepts quite easy to grapple with. These include certain aspects of continuity editing, such as consistency of screen direction, and the ideas of spacial continuity.

The concepts and ideas relating to this module also linked in nicely with the content of MDA1300, as while 1300 was allowing us to understand and actively participate in creating, controlling and manipulating the different factors of the stylistic elements and skills needed for the course (camera, sound, lighting, editing, directing, producing,) and this complemented the classes for MDA1700, in which we simultaneously learned about their application and effects in feature films.

This was a useful factor of the first few weeks of the module, as learning about the effects of these stylistic elements and some of the theory and history behind them went hand-in-hand with applying them in a practical situation and utilising them effectively in the appropriate assignments.

An example of this, is when we learned about the effects of the high contrast lighting in the film noir genre and how the different types of lighting, and the use of shadows affect how audiences see characters or events (as well being a staple of the genre obviously). This meant that when we're set the specific assignment, we have more insight as to how we can go about getting the desired effect from our manipulation of the stylistic element.

Also, as none of my previous studies had concentrated much on classical Hollywood (most of the content had been British Cinema, International Cinema (Mexican and Spanish,) and Auteur Studies,) I found the first part of this module very interesting. For example, I enjoyed watching the films East of Eden (by Elia Kazan) and Double Indemnity (Billy Wilder,) which I had never seen or studied before, yet now had the chance to watch in an effective environment, and study in-depth in the seminars (East of Eden in relation to the editing and consistency of screen direction, for example, and Double Indemnity in relation to the conventional stylistics of the Film Noir genre).

MDA1700 - First Assignment - Shot Type/Length Sequence Analysis

The first assessment for MDA1700 has been an analysis of a short sequence in relation to shot type and length. The scene I have chosen is the infamous scene from Jane Campion's 'The Piano' in which Alistair chops off Ada's finger due to her infidelity. The scene can be found here:

http://www.youtube.com/watch?v=yLJQwpIrt2c
(3 minutes 43 seconds to 6 minutes 28 seconds)

and here is my analysis of the sequence:

‘The Piano’ (Jane Campion, 1993) – Sequence Analysis

                In the sequence I have analysed, the character Alistair, upon finding out his mute wife Ada has been having an affair, cuts off her finger, disabling her from playing the piano (which is the only way she expresses herself). 

                In the 3 minute extract there are 35 shots. The first 5 are between 3 and 6 seconds and the first two are a side tracking Long and Mid Shot of Alistair and Ada’s daughter, Flora as they are running through the forest. These longer, wider shots coupled with the dark, rainy setting and the camera movement establish the grim setting and the events which are to transpire; the unsteady camera movement signifies Alistair’s violent nature. One of the side-tracking shots is a 3 second close up of the axe, foreshadowing the climax. 

                Once he reaches Ada, there are Close Up and Medium close up shots, of 1-1.5 seconds of Alistair smashing the piano with the axe, emphasising the violence. A longer shot of 17 seconds, to build tension, then shows Ada being dragged outside. As Alistair swings the axe down there are 5 MCU and CU shots of the axe and the characters. The MCU’s emphasise character emotions, and as the axe cuts off her finger, the CU of Ada’s face amplifies her pain. The next shot is a MCU of Flora, covered in Ada’s blood. These shots, showing the effects of but not the actual injury makes the scene horrific, as the absence of explicit imagery leads the audience’s imaginations astray. 

                An 11 second MCU of Ada is the next shot; the longer shot emphasising her pain,  then a 4 second CU of Ada’s hands with her wedding ring over the injury, signifying how her marriage has led to this awful event and allowing audiences to take in the gruesomeness. The final shot is 49 seconds, of Ada walking away from the camera (and her husband) and collapsing, signifying how she is now distanced from those around her; unable to express herself through piano playing and sign language. This shot is powerful as it signifies Ada’s suffering through her expressions and movement. Her collapse could also represent the struggle of her marriage, and the suffering caused. 

MDA1300 - Sound Brief

These videos are the finished interviews. The first, being with the boom mic (filmed by Mayang and Fikre), the second (filmed by Sofiane and I) with the lapel mic.

While there are some good points (the sound is, in certain places audible and well recorded, and I had editing in 'noddy' shots to show the interviewer and their responses to what was being said, which makes the video more interesting as it breaks up the longer shots), there were alot of errors.

Firstly, in both shots there is no introduction or idea of wha tthe interview is about initially, so the audiences wouldn't have been drawn in.
The backgrounds in each shot are uninteresting and the topic of interviews is generic and boring.

The reason we did not think of these as issues, in my opinon, is because we didn't plan efficiently enough, as we didn't assign roles until the day of shooting, so we had taken equipment out with only a vague idea of what we were supposed to be doing to fulfil the brief. The major way this affected us, in my opinion, is because when we set out to film we had no idea of a location in mind, so spent a LOT of time finding an efficient location, and as we hadn't planned it out beforehand, we didn't think about ways in which we could have made it more interesting, resulting in wasting too much time and the same bland, white background for both shots

The lack of planning also meant that the topics for interviews were thought of on the spot and under pressure, affecting the final video in the fact that it isn't really that appealing to audiences.

MDA1300 - Week Two

Sound Induction

After getting feedback on the previous week's brief the class had a sound equipment induction.

Although I couldn't make the initial workshop due to illness, I attended an extra session for a sound induction.
We learned about the terminology associated to the correct equipment and processes, (e.g.boom mic, lapel mic,) and the best techniques to use while filming.

I found this very interesting as it was the first time I had got to use a boom microphone (I had only previously used lapel mics), so it was a good opportunity to get acquainted with the correct equipment.

For this week's brief we were asked to conduct interviews on 2 members of our group, one using the boom mic, and one with the lapel mic.

MDA1800 - Assessment 01 - The Death of Barbara Allen

For our first Summative assessment we were asked to create a short, filmable contemporary scenario based on one of the stories we have looked at in the first six weeks.
I chose to base my story upon 'The Ballad of Barbara Allen' which can be found here:
http://www.etni.org.il/music/barbaraallen.htm

I feel that this ballad in particular is suitable for a short, screen version, and I believe that what I imagine for it would be a strong visual scenario, and that the emotions and themes in the ballad, if portrayed effectively, would really strike a chord with and get an emotional response from audiences:

1800Assessment 01

MDA1700 - Week Two

For the second week of MDA1700, we discussed the film from the previous week's screening (Chaplain's 'Modern Times') and we also discussed the visual styles of film, and continuity styles, referencing them to Silent Comedy.

While a lot of what we looked at in the class was useful revision (such as the different elements of visual style, camera movements and some of the 'rules' of continuity style', there were many terms and examples of terminology I learned which were new to me.

For example, I had never really considered some of D.W. Griffith's 'rules' of continuity, such as Articulation of Space and the Consistency of Screen direction (mainly because I hadn't heard of them prior to the Seminar,) and I found it interesting how even though I had previously overlooked them, they're integral to the idea of continuity in film, as seen in the scene from Alfred Hitchcock's 'The Birds' which we watched, in which a woman drives up to a house, and enters it to find a man dead and then proceeds to flee the scene.

Consistency of Screen direction was exhibited in the opening and ending of the sequence, as the woman drove into the scene and entered the house from screen left to screen right, and then as she fled she was moving from screen right to left.

We also noted the use of 'Slow Disclosure' in the above scene, which is a term used to describe when vital visual information is slowly reveal to add to the build up in tension.

The Proscenium style of silent cinema, and how it affects editing and the visual style was also discussed, and the prison canteen scene from modern times was used as an example of this, as it clearly shows how certain details are picked out for the viewer. The main example if when the criminal puts drugs in the salt shaker, and the camera (while still looking forwards onto the action like Proscenium style dictates,) pans down to show only the salt shaker, then back up to the criminals face. This shows how the camerawork manipulates the style of silent cinema for the desired purpose.

Due to the initial screening (The Ten Commandments, DeMille, USA, 1923) being cancelled we watched 'East of Eden' (Elia Kazan, USA, 1955).

MDA1800 - Written Assignment 01

This is the story I have written for my first assignment, which was inspired by the idea of the 'snake' character in The Fall of Man, who tempts another character (in this instance, the protagonist, Dean) to give into a desire and/or commit an action they shouldn't.

I have moved idea into a contemporary setting which I believe I, and many members of my target audience (which due to the premise of the story would be young adults, probably students,) would be able to relate to, as it is based around the idea of a student with work to do, being tempted to drink by his friend. I myself and I am sure many other people in my situation have been in this situation, so I believe that the feelings I tried to portray through my writing are easy for students to relate to.

Interestingly, in my story the snake character is not a villain as you'd expect, but a friend of the protagonist. Basically, they are a good character, but as their desires (wanting Dean to come out and drink) conflict with the desires of the protagonist (wanting to stay in and work while being tempted to go out and drink), it makes her the antagonist of the story.

The clock ticked deafeningly, monotonously; endlessly, as time lurched forwards, with the amount of words on the screen remaining painfully low. How long had Dean been writing this essay now? One hour? Even longer? Yet no matter how long he stared at the screen, his thought just didn’t materialise. He could hear voices upstairs; more students like him, but were they sitting here slaving away over an essay? Of course not! Judging by their voices they were all well on the way to having a good night. Half a bottle of vodka glinted in the corner of his eye, reflecting the dim lamplight. ‘If only,’ he thought; a couple of drinks and he’d be well on the way to having a good night and enjoying himself with everyone else; not having to sit here withering away at a screen.

                Dean’s ringtone shocked him out of his little daydream, and praising a distraction he didn’t create himself, he answered. “Party on 3^rd floor mate!” said Rochelle, one of his flatmates, “Then we’re off to Eden Bar. Pound drinks tonight! Can’t go wrong with that!”
“I can’t, I’m so sorry,” replied Dean, horrified with himself for turning down pound drinks on a Saturday night. “I have an assignment to do, and if I don’t get it done now I never will.”
“Did you hear what I said?” she demanded, in mock anger, “pound drinks!”
“I know, I know, I just don’t feel up to it, I mean, I’ve been a-“
“I expect you to be up here in half an hour or I’m coming to get you. You know you want to come out!”
“I do, but –“
“Well come on then, you know you want to… you have to… you need to!” she teased in a jokingly alluring manner.
“No, I can’t, and that’s my fi-“ the phone was dead.

                So there he sat… watching the screen, time once again dragging by as slow as ever, the bottle still glinting in the light, almost winking, as alluring as the idea of those pound drinks… No, thought Dean, you can’t go out tonight, you have to get this work done. ‘But work doesn’t mean you can’t have a drink’, said one strikingly familiar voice in his head, ‘one drink won’t hurt will it, it might even help get those ideas flowing… you know you want to have one at least, just to ease the stress of the work if anything.’

                ‘One won’t hurt, you’re right’, Dean decided. Walking across the room, he grabbed the bottle and mixed himself a well-deserved drink. After finishing it a bit quicker than he normally would have done, (to get back to his work, of course,) he felt that while it was enjoyable, the one drink really wasn’t that substantial. ‘That’s good’, said one part of his conscience. ‘You still feel fine so can get back to work.’ ‘Or’, interjected the other voice, ‘if it didn’t have any effect you could always have another as well… I mean, where’s the harm in one more mate?’ It wasn’t like he was drinking to get drunk or anything… now he thought about it his mouth was rather dry, and the drink he was mixing the vodka with was very refreshing, so as long as he didn’t mix too much in it will be ok! It’s just one small drink after all, something to refresh himself with. One more after that couldn’t hurt too right? So that once he’s finished his assignment he’ll be in a good place to relax for the night…

                ‘Speaking of the assignment’, thought Dean, ‘I think it’s about time I have a break. I wouldn’t want to overload myself after all. I might go upstairs; see what’s happening on the third floor…’