Thursday, 15 May 2014

Section A Exam Question

How far can it be argued that your chosen films provide a 'realistic' representation of the people and places they focus on? [35]

The film I have studied does provide a 'realistic' representation of people and places within 'City of God'. 

During the documentary 'Favela Wars' (2003) a young child from the favela's in Rio De Janeiro is being questioned on the crimes he has committed in the prison where he is serving his sentence. You hear him say "I saw the other guys do it, so I did it too," this provides a realistic representation of how life is like within the favelas, as well as the youth's descent into violence. 
This reality is shown within the scene of Lil Ze forcing Steak and Fries to shoot a runt. An over the shoulder shot is used to capture Lil Ze walking towards Steak and Fries telling him what he is going to do. A low angle is used to show Steak and Fries walking towards the runts  with the gun in his hand, showing his power. A wide shot is then used to capture him lifting the gun, pointing it towards one of the runts. A zoom is used to go from a mid-shot to a close-up of Steak and Fries is used to capture his pained and scared expression. Diegetic sound of Lil Ze urging him to shoot one of them, a wide shot captures him moving his gun towards the right and shooting one of the runts. Steak and Fries needed to kill one of them, if he wanted to live, showing that in the favela's you need to kill or be killed. 
A descent into violence can also be seen within La Haine, through the use of shot reverse shot of Vinz and Said sat in a park on the outskirts of Paris- captured using a wide-shot-, a wide shot of used needles and drug packets on the floor and then back to the original wide shot, representing a direction the youth can take- a descent into violence. 










Monday, 24 February 2014

Aims and Context


Aims:
  • Short experimental film
  • I intend to create a 3-5 minute experimental film 
  • Experimenting techniques (scratching and painting onto film) 
  • Elements of surrealism through the visual aspects (photographs)
  • Themes of body image and disorientation
  • This film would be exhibited in an art house gallery 


Main Influences 

Stan Brakhage
For my experimental film I intend to scratch onto a film strip. To do this I will use coloured permanent markers and tip-ex and then using a needle I will scratch onto film, creating marks. I took inspiration from Brakhage's films 'Stellar' (1993) and 'Moth Light' (1963). In 'Moth Light' (1963) you see close ups of moth wings that Brakhage has attached onto the film strip and in 'Stellar' (1993) you see different colours painted onto the film strip. Brakhage explored the colours people see when they close their eyes, this is shown in 'Stellar' (1993) as Brakhage has painted onto the film.



This is 'Stellar' from 1993 created by Brakhage.







This is Brakhage's 'Mothlight' experimental film from 1963.









Friday, 24 January 2014

Sample exam question for section c: Fight Club


17. How useful has a particular critical approach been in gaining a deeper understanding and appreciation of your chosen film? [30]

When watching my chosen film 'Fight Club' 1999 (Director: David Fincher) I found to gather a deeper understanding of the film the 'crisis of masculinity' the most useful critical approach. Within this film this critical approach questions the masculinity of the male characters, these questions can be seen through key scenes in the film. The time the film was made (1999) men were becoming more feminised in society and culture, this can be seen within the text, Fight Club.

Within the narrative of Fight Club the audience watch the male protagonist the narrator, Jack, attend pressure groups which men who suffered/ suffer with testicular cancer go to, to seek help. Through the mise-en-scene you can see that the location of the pressure groups is a basketball court. The lighting of the gym shows a form of emasculation and the crisis of masculinity as gyms are usually brightly lit (high-key lighting) and energetic, however in this scene the lighting is low key, dark and dreary. Through the use of a wide shot you can see men sitting in a semi-circle formation with their backs towards the basketball hoop. Their body positioning's also show a form of feminism and emasculation. The wide shot captures a man in the middle sitting with good posture, with his legs crossed and his hands placed upon them, this is considered a feminine pose. Also through the mise-en-scene you can see that they all have identity tags, implying that they have no identity and that the cancer has stripped them of their masculinity. As well as seeing the basketball hoop an American flag has been positioned next to it, this too shows the crisis as these men are Americans and are usually perceived as manly however due to the mise-en-scene they're shown more feminine as the support group could be considered as a more feminine approach to the problem in hand.

The crisis of masculinity is also portrayed through the dialogue. During the scene where the audience are watching Jack at the testicular cancer support group, a close up of Jack hugging and crying onto a mans shirt is captured. Accompanied with this shot is a voice over of Jack (the narrator) telling the audience who this person is. In the voice over we find that he is called 'Bob' and that he has 'bitch tits' which he gained due to oestrogen hormones being pumped in him due to his testicular cancer. His name could be considered as a pun as his name is one letter off from 'Boob', later on Fight Club you see that Bob joins Fight Club and Project Mayhem in an attempt to regain some of his masculinity.

Monday, 13 January 2014

Annotated Catalogue

Can Quentin Tarantino’s use of non-linear narrative qualify the director as an auteur?
Annotated Catalogue

Films:

Item 1: Pulp Fiction (1994 dir. Tarantino)
This item is very useful as it is a clear example of one of Quentin Tarantino’s non-linear narratives. The scenes throughout will be good examples in answering my question as they indicate his style of narrative film structure. The structure of Pulp Fiction is richer than films like Reservoir Dogs and Kill Bill and isn’t as complicated. This is because it contains key ‘moments’, which reflect other scenes in the film. This illustrates Tarantino’s style for complex narratives.

Item 2: Kill Bill Vol.1 (2003 dir. Tarantino)
This item is another great example of Tarantino’s non-linear narrative, which is used in a sequence of flashbacks and flash-forwards to tell his story. The plot is non-linear however; the narrative itself is easier to understand than previous films. Screen captions and the Bride constantly referring to a list, helps slowly explain the narrative clearly. This illustrates Tarantino’s style for complex narratives. This item was helpful.

Item 3: Reservoir Dogs (1992 dir. Tarantino)
This is another good example of non-linear narrative, but this could’ve easily been one of several other films in its place. Even though this film is still a non-linear narrative, there are long stretches of time where the orders of the scenes are in what is considered a normal chronological order (linear narrative). Again it illustrates Tarantino’s style for complex narratives.

Books:

Item 4: ‘Tarantino’ by Jim Smith
This item is very useful as it lists his films in the order in the contents page- easy to access chosen film information. Each film’s key points are highlighted and analysed. All of my chosen films are included with details, giving explanations and explaining the anti-chronological order in which his films are organised.

Item 5: ‘Teach Yourself Film Studies’ by Warren Buckland
This item is very useful as it dedicated 2 chapters to the structures of narrative in films and exploring the concept of the director as an auteur. It also includes extra information about auteurs and also includes information on one of my chosen films (Pulp Fiction) explaining and investigating its narrative structure.

Internet

Item 6: Trunk shot
This is an article on the ‘trunk shot’ Tarantino uses in his films, I will use the photographs from this site to show visual examples of this particular shot which I will link with signature techniques of Tarantino that qualify him as a director.

Item 7: “Auteur or Bust” by Lila Stanley                                                                                                            (Article link: http://gotchamovies.com/news/auteur-or-bust-178422 )
This is an article I have found on a website called ‘Scoop.it’. This article is specifically talking about auteurs and the theory. In the opening paragraph a brief introduction about auteur theory. Then the article goes on to listing six of the “best auteurs still working today.” Quentin Tarantino is mentioned in this article talking about previous works and it also mentions his dialogue and how it never ceases to amaze. This article is useful, however it isn’t as crucial as it gives little detail and is very brief. But the points made can be incorporated in answering my question.

Item 8: “Quentin Tarantino: The Director” by WatchMojo.com                                                             
I found this visual article on a site called ‘Scoop.it’ and there was a suggestion that I should look at this visual article. The article isn’t that useful to me however does contain information (even though the information is limited) on all of my 3 chosen films. The reason why this article is in my catalogue is because there is a quote at the beginning that interested me which talked about his non-linear narrative and how it gained him recognition. I thought that the quote was interesting and perhaps it could help explain and back up points. The rest of the interview however isn’t that useful.

Item 9: “The Times- Tarantino Interview- October 2003 [Kill Bill]”                                                    
I found this interview with Tarantino from the site ‘Scoop.it,’ this interview with Tarantino was from 2003 and he talks about his original film ‘Kill Bill Vol.1.’ This interview is useful as Tarantino describes his films within two different universes. He talks about the two different universes and what films feature in them. This interview will be very useful when talking about the non-linear narratives and how that can qualify Tarantino as auteur, because I can link his films and the universes that they appear in, to traits as well as his non-linear narrative, which could qualify him as an auteur.

Item 10: “Frame-by-Frame: The Auteur Theory in Film” by Wheeler Winston Dixon
This video talks about Auteur Theory. He makes the point that films were not usually considered to be made by the directors, producers or the studios, but were known by the actors or actresses that starred in them or the genre. He then goes on to talk about how the director is the primary source and force behind a movie giving examples. This video is very brief- only two minutes long- and isn’t very detailed however it explains the theory and this will be helpful when answering my question.

Item 11: “What makes an auteur? (Tarantino)” by Scott Keith                                                               
I have chosen this article from a blog that I found on the site ‘scoop.it,’ because the article is about auteur theory and the writer uses Tarantino and his films as an example. This article will be useful for a guideline to help with answering my question. In the article they talk about themes that feature in Tarantino’s films, in the articles two of my chosen films are featured as examples. This article will be helpful with writing my question.

Item 12: “A quick look at Non-Linear Narrative”                                                                                          
This item will be very useful when writing my presentation script as the article talks about Non-linear Narrative. In the article there are also quotes from theorists and teachers, in my response I can apply and use these quotes. The article also mentions Tarantino’s films: Pulp Fiction and Kill Bill Vol.1.

Item 13: “Auteurism and Quentin Tarantino” by Gabriela Balcerzak

This is another blog that I found on ‘Scoop.it.’ This article talks about Auteur theory and applies that and looks at three of Tarantino’s films. As well as talking and discussing the auteur theory, they also talk about the non-linear narrative. This article will be very useful when answering my question as I can apply theories and use quotes from the article to back up my own points.  

Item 14: “Auteur Theory”
This item will be useful when writing my presentation script because I can refer back and take quotes from the article and apply them in a way that will help back up the points that I make. Also it gives names of theorists and directors, which the auteur theory applies to.

Documentary:

Item 15: BBC Four Interview- Quentin Tarantino (Kill Bill)
This short documentary is about Quentin Tarantino’s 2003 film Kill Bill. Although this includes little information on non-linear narrative, it does include a point that I included in another item (item 10) about his ‘Quentin Universe’s.’ I can use this within my presentation script to back up points that I make concerning these universes. Also, I will use a section of the clip from the beginning of the documentary within my presentation script.

Internet:

Item 16: Reservoir Dogs film poster
I will use this to add more of a visual element within my presentation script.

Rejected items
Film:
Jackie brown (1997 dir. Tarantino)
 I have rejected this film because the non-linear narrative doesn’t warrant heavily enough throughout the film to be examined. I found that this film had extended sequences and scenes that lasted too long to be able to be classed into and examined with non-linear narrative.
Book:                                                                                                                                                                   
“Pulp Fiction Quentin Tarantino: Best Original Screenplay, 1994” by FF (Faber and Faber)
I have rejected this book because it only contains the screenplay of Pulp Fiction. I found this of no use, as it didn’t give me any information only the examples of the scenes were available to me.
Internet:
“Quentin Tarantino’s Top 10 Films of 2013 (So Far) Includes ‘The Lone Ranger,’ ‘Kick-Ass 2,’ ‘Gravity’ & More.” By Kevin Jagernauth
I have rejected this item because it has nothing to do with the films he has made just his personal preference on films he likes in 2013. The article gives no information to enable me to answer this question because again it is about his personal likes and dislikes of 2013 Cinema. The article gives two brief paragraphs on the subject matter and then goes on to list the top 10 films of 2013 in Tarantino’s opinion. This article was of no use to me.
“Top 5 Scenes- Quentin Tarantino” by Brian Lloyd
I have rejected this item because, although it contained information and clips from two of my films, the information that was used/ is provided talks about Tarantino’s top 5 scenes and his choice of music within that scene. The music and information that is provided is of no use to me so I have rejected it.
Documentary:
 “Quentin Tarantino- A Life in Pictures” by ‘Baftaonline’                                                                            

I am rejecting this item because the only time when he mentions the non-linear narrative is when talking about his film ‘Jackie Brown’ which is not one of my chosen films so it is of no use to me. 

Coursework

Can Quentin Tarantino’s use of non-linear narrative qualify the director as an auteur?

Projector: Projector slide showing the two quotes.

Speaker:
“The Oxford dictionary defines an auteur as ‘a film director who influences their films so much that they rank as their author,” (item 11) which implies “that a director can use the commercial apparatus of film-making in the same way that a writer uses a pen or a painter uses paint and a paintbrush. It is a medium for the personal artistic expression of the director,” (item 14).
This applies to American director, Quentin Tarantino.

Projector: Watch Mojo.com (item 8) [time: 00:00- 00:12]

Speaker: “The self-taught, writer-director uses intertextuality, an aestheticization of violence, non-linear narrative and pop-culture references throughout most of his ten films,” (item 13). Pulp Fiction (item 1), Kill Bill (item 2) and Reservoir Dogs (item 3) are examples of Tarantino’s films that contain aspects of these themes within them. “In all the movies that Tarantino has directed, he always uses the same fundamental themes and techniques that put his ‘signature’ on his work,” (item 11).
In this presentation script I will discuss Tarantino’s non-linear narrative style as an auteuristic trait of his.

Projector:  Pulp Fiction (item 1), opening scene [time: 00:00:00- 00:04:35]

Speaker:
Non-linear narrative “is very common in movies as it can give a dramatic start that catches the viewer’s attention,” (item 12) this can be said about the opening and ending scene of Tarantino’s 1994 film Pulp Fiction as the audience that the end scene picks up where the opening scene finishes.
In the opening scene, a wide shot is used to capture the characters Hunny Bunny and Pumpkin having a conversation over breakfast, in a diner. Through the mise-en-scene we can see this is a road diner, due to the cars you can see through the windows. The menus, food and salt and pepper shakers on the table also show that this is a diner. When close ups are used on Pumpkin, you can see other booths with red leather seats. Their topic of conversation is robberies, Pumpkin talks about various shops and how robbing them isn’t the same as it used to be because of the foreign owners. As the conversation escalates to talk about robbing the diner, close ups are used to show Hunny Bunny gradually leaning in closer, showing she is intrigued about the idea. The technique shot, reverse, shot it used to cut between the two as they plan, after this a straight cut is used to show a close up of a gun, which Pumpkin pulled from his trousers, which instigates the robbery. A low angle is used to capture the two, both with guns out, shouting at the people and staff in the diner. The scene then cuts to the title sequence with the use of a blackout and with the pop song ‘Misirlou’ playing.

Projector: Pulp Fiction (item 1), end scene [time: 02:07:53- 02:11:50]

Speaker:
At the beginning of this scene (end scene) a mid-shot is used to show Vincent Vega and Jules eating breakfast in a diner. Through the mise-en-scene you begin to recognise and speculate the diner used previously in the opening scene, as you can see through the windows in the distance a road and the red leather booths. Jules and Vincent are having a conversation about the miracle/ freak occurrence that they both witnessed, a straight cut is then used. This straight cut confirms it is the same diner as before and clearly shows non-linear narrative as the straight cut captures Pumpkin and Hunny Bunny shouting for more coffee- an action you watch Pumpkin do in the opening scene. As the audience have already watched the opening scene they know in advance the events that are about to unfold- the robbery.
Non-linear narrative structure is used “to achieve specific admired effects,” (item 4) such as advanced disorientation within the audience, the non-linear narrative “radically alters the sequence” (item 5). This is the effect that occurs when watching the end sequence of Pulp Fiction (item 1) as you see the robbery from the opening scene. It’s as if the film is a “collection of short stories rather than a single narrative” (item 4).
Another example of non-linear narrative within Tarantino’s Pulp Fiction (item 1) is the scene where you see gangster Vincent Vega get shot and killed by Butch.

Projector:Pulp Fiction (item 1), Butch Kills Vincent [time: 01:25:45- 01:28:30]

Speaker: 
This scene appears almost halfway through Pulp Fiction and you clearly watch Butch kill Vincent with a gun.
A tracking shot is used to show Butch walking to his apartment and a close up is used to capture him unlocking the door. A wide shot and tracking shot are used to capture Butch as he walks through his apartment as his goes to retrieve his father’s watch. A wide shot is used to capture Butch in the kitchen as he reaches for the cupboard door, a close up is then used to show him pulling out ‘Toaster Pastries’ and as he puts them into the toaster. Butch is then captured using a mid-shot as he sees the object on the counter; the camera zooms into Butch which creates tension as the audience haven’t been shown the object. Then a straight cut and a close up is used to capture a gun on the kitchen side. A low angle captures Butch as he holds the gun in his hands, showing his power. Diegetic sound of the toilet flushing can be heard- confirming the presence of another person in the apartment- and a mid-shot of Butch is used to show him turning towards the noise pointing the gun towards the door. A sudden straight cut and close-up of the toaster is used to show the pastries popping out and then a mid-shot of Butch can be seen as he shoots Vincent Vega after coming out of the toilet. Vincent is seen dead in the bath by the camera tilting from his feet to his head using a close-up shot.
The non-linear narrative structure is clearly seen in a following sequence, depicting the ‘miracle’ Jules and Vincent Vega witnessed. The effect that the use of non-linear narrative achieves in this scene is confusion and disorientation within the audience as you saw Vincent Vega shot dead in a previous scene.

Projector: Pulp Fiction (item 1), ‘Miracle II’ [time: 01:47:06- 01:48:58]

Speaker:
The same scene is seen previously in Pulp Fiction (item 1) however is repeated here from the perspective of the man who shoots at Jules and Vincent. Diegetic sound of people talking can be heard in this scene whilst the shooter is hiding in the bathroom. One of the people you hear speaking is Vincent. As well as this, the audience already recognise the man in the bathroom as they saw him earlier on in the film shooting towards Vincent and Jules, so they realise that Vincent isn’t dead/ hasn’t been killed yet showing another example of Tarantino’s non-linear narrative.
There is a constant use of non-linear narrative structure in Pulp Fiction, used to create and achieve certain and desired effects. “A version of the film cut together to represent the events in the order in which they happen may be more ‘correct’ but it would be less satisfying dramatically,” (item 4).
The common use of non-linear narratives within films and in Pulp Fiction (item 1) depicts shocking sequences and creates a “dramatic start” in the narrative, catching the audience’s attention. This can be said about specific scenes within Pulp Fiction as Tarantino places Vincent Vega’s death scene mid-way through the film and then during the end scene you see Vincent eating in the diner with Jules, creating confusion with the audience as they saw Vincent shot dead in a previous scene.

Projector: Frame by Frame (item 10) [time: 00:00- 02:43]

Speaker:
In this short video you hear Wheeler Winston Dixon discuss auteur theory. He discusses within this video, “that the director is the primary creator of the film and that each director’s individual signature is distinct,” (item 10). “Today, some film critics use the term auteur to describe a well-respected director who embodies repetitive techniques, meaning and structures,” (item 13). Non-linear narrative can be said to be an auteuristic trait of Tarantino’s as it’s an aspect of film and narrative he uses repeatedly throughout Pulp Fiction and other films.
Tarantino’s non-linear narrative technique can be seen in his 2003 original screenplay, Kill Bill Vol.1 (item 2).

Projector: BBC Four Quentin Tarantino Interview (item 15) [time: 02:31- 02:58]

Speaker:
Kill Bill Vol.1 (item 2) is said to be “fascinatingly, very reminiscent” (item 4) of earlier works, as the “plot is defiantly anti-linear” (item 4).  Non-linear narrative isn’t a constant like that in Pulp Fiction (item 1) however is noticeable through the use of mise-en-scene.

Projector: Kill Bill Vol.1 Clip (item 2) Chapter 18, [time: 01:37:46- 01:38:25]

Speaker:
During this scene in Kill Bill Vol.1 (item 2) a wide shot captures the Bride on a plane, with a samurai sword and a notepad. A close up and point of view shot is used to capture the Bride writing a list with the title ‘Death List Five,’ she is then captured writing the names of the five deadly vipers she intends to kill.
This isn’t the only scene where you see the list; it is also captured with a close-up during the first chapter, showing another example of Tarantino’s non-linear narrative technique.

Projector: Kill Bill Vol.1 Clip (item 2) Chapter 3- 4 [time 00:05:08- 00:15:17]

Speaker:
In the first chapter of Kill Bill Vol.1 (item 2) an establishing shot is used capturing a suburban house accompanied with a caption revealing its location- California. A mid-shot then captures the Bride pulling up in a van outside a house, a wide-shot is then used to show her as she walks across the front garden to the front door.
An extreme close up is then used to capture the Bride ringing the doorbell. When the door opens a mid-shot is used to show the woman’s reaction to the Bride appearing at her door. An extreme close-up is then used to capture the Bride’s eyes in a red filter, accompanied with non-diegetic sound of sirens, implying this is an enemy of the Bride’s. Through the use of a voice over the audience are told that this woman is Vernita Green.
A flashback to the chapel sequence is then seen, which captures Green at a low angle after the Bride was beaten by her and four others. Low angles, wide shots, close-ups, high angles and diegetic sound are used to capture the two fighting in the house. At the end of the fight scene –after the Bride kills her nemesis, she goes back to the truck. A mid-shot is used to show the Bride in the cab of the truck and capturing her as she retrieves the notepad. A close-up is then used to show the Bride drawing a line through the name of number two on the list -Vernita Green, showing the killing of one of the vipers is complete. The use of the close-up also reveals a line through the first name- O- Ren Ishii- this character is a character who is introduced later on in the film where she is killed by the Bride. However, the line that is captured by the close-up through her name implies that she has already been killed, which shows another example of Quentin Tarantino’s non-linear narrative technique.

Speaker:
“Non-linear narratives often use flashbacks or flash forwards in which past or future events are revealed through memory or other methods during exposition of a current event,” (item 12). This technique is used throughout the film whilst the Bride is on her revenge seeking quest. Flashbacks can be seen in Kill Bill (item 2) when she meets/ sees characters who are linked with the day she was shot and her unborn child killed.  

Projector: Kill Bill Vol.1 Clip (item 2) chapter 13 [time 01:03:48- 01:04:47]

Speaker:
This scene depicts an example of a flash back within a non-linear narrative, in Kill Bill (item 2). A wide shot is used to capture a car and a motorbike pulling up to a junction/ red light. Diegetic sound can be heard of the engine of the motorbike as the Bride revs it. A close up and shallow depth of focus is used to capture the helmet (of the Bride) turning to look at the driver of the car, at this point the focus changes leaving the Bride out of focus and the driver and the car in focus. The red light from the traffic light reflects onto both of them showing connotations of danger. A close up is used to capture the lady on the phone in the car, a straight cut to a closer shot of her is then used and then a straight cut to an extreme close up of her mouth can be seen, accompanied with these shots are non-diegetic ‘boom’ sounds exaggerating the cuts, implying the Bride recognises her.                    
This is where the flashback can be seen, as a straight cut and wide shot is used to capture the Bride being flung across the chapel floor. Diegetic sound of a mobile phone ringing is then heard and a low angle is then used to capture O-Ren Ishii’s second in command on the phone- who is the lady in the car.
Flashbacks are common in non-linear narrative to portray a memory, which gives you more information to link with the events happening. The use of these flashbacks can be considered as a ‘signature’ of Tarantino’s as he incorporates them in to Kill Bill (item 2) and also into his 1992 film Reservoir Dogs (item 3) in a similar way to those used in Kill Bill (item 2)

Projector: Reservoir Dogs film poster (item 16)

 Speaker:
“I came up with the idea of having a heist film where you never actually see the heist,” (item 4). This is said by Tarantino when asked about Reservoir Dogs (item 3). Tarantino “wants the audience to acquire only information he wants them to have,” (item 4).
Reservoir Dogs (item 3) is “not as non-chronological as a first time audience might initially assume,” (item 4), this is because of the “large stretches of the picture” (item 4) however accompanied with the flashbacks, it captures Tarantino’s non-linear narrative structure. Flashbacks used in Reservoir Dogs are used to reveal the back story of the characters in focus.

Projector: Reservoir Dogs clip (item 3) [time: 00:25:22-00:25:58 ]

Speaker:
A straight cut is used to show a close up of Mr White (Larry) in a different building from the shot before; this is seen through the mise-en-scene as the room in the previous shot had white tiled walls whereas the room he is captured in afterwards has red walls with lots of wooden furniture. Also you see that he is wearing a red polo shirt whereas before he was wearing a black suit and tie. Shot, reverse, shot is used to capture Larry talking to Joe, a businessman and old friend of Larry’s. A straight cut to a black screen with the caption ‘Mr White’ is then seen showing the audience that this next sequence is about him. During this scene close ups are used on Mr White and Joe as the discuss Joe’s next job- a diamond heist.
These flashbacks are also used to show Mr White’s (Larry), Mr Blonde’s (Vic Vega) and Mr Orange’s (Freddy) back stories, throughout Mr Orange’s flashback you discover that he is a cop and is the ‘rat’ of group.

Projector: Reservoir Dogs clip (item 3) [time: 00:36:12- 00:37:06]

Speaker:
During this flashback you are introduced to Mr Blonde’s real name- Vic Vega. It has been said that Vic Vega is the brother of Vincent Vega from Pulp Fiction (item 1).

Projector: The Times Interview (item 15) [time: 04:48- 04:56]

Speaker:
In the first five minutes of this interview you hear Tarantino discuss two ‘Quentin Universes’ where his films take place. He describes the first universe as one “having all the fun of a movie, movie, all the fun of a genre movie but in some ways is more realistic than life itself,” (item 15). This is the world where Pulp Fiction and Reservoir Dogs take place. This also implies and backs up the point that Vic Vega and Vincent Vega are brothers as they live in the same ‘Quentin Universe showing the likeliness of the connection. The other universe Tarantino talks about is his “movie, movie” universe which isn’t about real life, this is the universe where Kill Bill (item 2) takes place.
As well as Tarantino’s repetitive use of non-linear narrative, other techniques of his such as the ‘Quentin Universes,’ distinguish his signature styles and themes that occur within his films. For example the ‘Trunk shot’ is repeatedly used in his films.

Projector: Pulp Fiction photograph (item 6)

Speaker:
In Pulp Fiction (item 1) the trunk shot is used to capture Vincent and Jules retrieving their guns from the trunk.

Projector: Reservoir Dogs photograph (item 6)

Speaker:
In Reservoir Dogs (item 3) the trunk shot is used as a point of view from the cop that Mr Blonde captured from the heist and tied up in there, ready to interrogate.

Projector: Kill Bill photograph (item 6)

 Speaker:
In Kill Bill (item 2) the trunk shot is used to capture Sophie (O-Ren Ishii’s second in command) trapped in the back.
These shots are a point of view shots from the person/ objects in the trunk, which gives the people looking in to the trunk a sense of power as they are captured towering over them.
This type of shot can be considered a trademark and influence of Tarantino’s as its repeatedly used within his films much like his use of non-linear narrative and an auteur is “a film director who influence their films so much that they rank as their author,” (item 11) and a director “that produces a distinctive approach to film creation through visual signature and thematic and narrative consistency,” (item 13). His non-linear narrative is a consistent element within his works as it is used in all three of his films I have looked at and others, showing auteuristic traits of his.

Projector: Photograph of Tarantino, Auteur of Bust? (Item 7)




Speaker:

In conclusion “auteur theory suggests that the best films will bear their makers ‘signature’. Which may manifest itself as the stamp of his or her individual personality or perhaps even focus on recurring themes within the body of work,” (item 14). This is a clear link with Tarantino’s non-linear narrative style as it’s a common convention of his films and is a technique that he has repeatedly used and developed over many years to be considered as his signature; this shows that his use of non-linear narrative does qualify him as an auteur. 

Monday, 16 December 2013

Stop Motion Experimental Film



To create this short stop motion sequence I worked with another student in my Film Studies class. The film is based on surrealism and deconstructing 'ordinary' things and putting them back together in an odd way. For our short sequence we deconstructed the human face/ head- using play-doh we sculpted facial features.

Friday, 6 December 2013

'Experimental Film requires a different kind of spectatorship.' Has this been your experience?

'Experimental Film requires a different kind of spectatorship.' Has this been your experience? [35]

Experimental films are full of strange mixtures of images, situations, words and expressions that may not tell a cohesive story but, in the end, don't have to in order to achieve an emotional goal. This type of film therefore requires the spectator to shift their conventional cinematic expectations to accommodate more radical narrative techniques, themes and meaning construction.

Un Chien Andalou, the infamous 1929 surrealist short film from Luis Bunuel and Salvador Dali, attests to this. I found this film difficult to understand the first time viewing it, as there was no narrative. The title when translated is 'Andalusian Dog' which shows that this film is going to be surreal and strange. The surreal and strange title matches the dream logic narrative that runs throughout the film, this opens it up for interpretation. During the film there were parts which were strange and uncomfortable to watch. For example the scene where a woman's eye is slit open. A close-up of a young woman's head is captured with a man holding her face as she stares into the camera. Then an extreme close-up was used to capture the man slitting the eye. This slicing of the eye could imply that this experience will be eye opening for the audience. Many themes feature in this film these can be seen through the connotations. For example a close up is used to capture the mans hand with a hole in the middle, you can also see ants emerging from the hole. This is a reference to religion and Jesus when the nails were hammered through his hands whilst on the cross. The film also makes you question and challenge things for example gender and sexuality- the woman dressed as a man, you see her as she's looking at a hand in the street. The music and the style of the film creates a dream effect (dream logic). The non-diegetic music is the only thing you hear- the movie itself is a silent movie. The music at the beginning is similar to that of music from a tango, fast paced and dramatic. The music throughout the film varies but describes the actions of the characters within the film. The way Salvador Dali and Luis Bunnel created this film was very interesting and also matches with the surreal style. To create the story/ stories they both went to bed and when they woke in the morning the two would write down their dreams and tell each other about it. This is how they completed a film with no narrative structure to it only dream logic. Compared to others this film is the most disturbing and confusing to watch because of the different shots and themes that feature within, however after the second viewing I found the film easier to understand.

Chris Marker became known internationally for the short film La Jetée (1962). It tells of a post-nuclear war experiment in time travel by using a series of filmed photographs developed as a photo-montage of varying pace, with limited narration and sound effects.This experimental film is different from others that I have seen because of the photo-montage techniques and because of the narrative that features in the film. Compared to others this film has a narrative that I found easy to follow, this was because of the voice over narrative that was played whilst viewing the film. Conventions of the sci-fi genre can be seen in this film as it deals with time travel. The narrative and genre of this film are conventional aspects to film that you see however the techniques and style make the film experimental and non-conventional. The film is considered an experimental film as it is made up of still photographs that match the voice over narrative. There is only one point within the film where you see the film move- this is where you see the young woman the male is talking about winking at the camera, because the film was captured in still photographs this also (like the previous film) question whether it actually moved. The editing too makes the film experimental as it uses fade in's/ out's, jump cuts and cross dissolves. The sound that features in the film can be argued whether it is non-diegetic or diegetic. You can hear whispering during the film, because the film is made up of still photographs it leaves you questioning how can there be diegetic sound? because they're photographs. However, the sounds are relevant to whats happening in the photographs which could lead to them being diegetic. The themes that feature in this film are memories, this is shown through the photographs that have been used as photographs are used to capture memories. The whole film deals with death, the film starts with someone being shot at an airport and at the end the man travels back in time and is killed at the airport which leaves you questioning if they're alive or dead in the first place. This film is different from the others I've viewed as there is more of a narrative and a structure to follow.

Maya Deren’s Meshes of the Afternoon (1943) is a work that maintains all of the mystery, tranquility, unpredictability, and personal attachment that is ever present within the world of dreams. I found this film interesting to watch however a bit confusing in parts. The main theme of this film is to show the female's perception of how male's view them. The black cloaked figure with a mirror for a face represents the male in the situation. The film director is female and shows feminism within the film suggesting that these are her thoughts portrayed in the film showing personal aspects about her. After re-watching this film I understood the dream-logic a little bit more. The non-diegetic sound that features in the film is an aspect I found difficult to watch as it kept repeating itself (like the dream/ what was happening in the dream) which by the end of viewing the film was annoying. Compared to the previous two films this was difficult to watch and out of them I found this a little difficult to understand. However, after re-watching the film I started to get a grasp on what the film was based around- which for me was that it was based on feminism and the female representation in the eyes of the male.
This experimental film went on to influence Fiona Sigismondi's video of MUSE performing 'Supermassive Black Hole'. In this video it contained mirrors for faces, faces of the members of MUSE were distorted and blown out of proportion and also they were wearing black. All which were taken/ influenced from Maya Deren's film.